Wanafoto, Art & Imaging Blogzine - Webzine


Expositions, Art contemporain, Art moderne, Photographie, Design, Patrimoine, Architecture, Art vidéo, Films, l'image dans toutes ses dimensions, Publications

Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


August 31, 2011

Adobe Muse Version beta gratuite du nouveau logiciel de création de sites web pour les graphistes


Adobe dévoile la version bêta publique de Muse, nom de code de son logiciel permettant aux graphistes de créer et publier des sites web HTML professionnels et originaux sans écrire une ligne de code et sans la contrainte de modèles restrictifs. Compatible avec les derniers standards web tels que HTML5 et CSS3 (s’ils sont pris en charge par les navigateurs), Muse allie précision et liberté de création grâce à des frameworks inédits favorisant la conception de sites plus interactifs, notamment par l’ajout d'options de navigation, de widgets et de fonctionnalités HTML.

« La possibilité de créer des sites web aussi facilement que des mises en pages dans InDesign figure parmi les demandes les plus fréquentes des  graphistes », précise Lea Hickman, vice president of Design and Web product management chez Adobe. « Ceux qui ont testé Muse sont ravis de disposer enfin d’un outil aussi puissant et intuitif ». 

Grâce à la VERSION BETA GRATUITE DE MUSE, à vous de vous faire votre propre idée sur ce nouveau logiciel Adobe.

Planification, création et publication de sites web interactifs inédits : 

• Des plans de sites, des gabarits et une multitude d'outils très souples dédiés au web accélèrent et facilitent la mise en pages des sites.

• Les graphistes peuvent combiner images, textes et graphismes en bénéficiant d'une souplesse, d'une maîtrise et de performances équivalentes à celles d'Adobe InDesign. Muse offre des widgets personnalisables et manipulables par glisser-déposer comme des menus de navigation. Les utilisateurs peuvent en outre intégrer des éléments interactifs entièrement personnalisables tels que diaporamas, info-bulles et boutons animés distants.  

• Muse inclut également des extraits de code HTML provenant de sources telles que Google Maps, YouTube, Facebook, etc.

• Le logiciel permet de déployer des sites web test hébergés par Adobe à des fins d'évaluation et de révision. Les sites peuvent être envoyés directement aux clients, convertis en sites payants hébergés par Adobe ou exportés vers un site FTP afin d'être hébergés par d'autres fournisseurs. 

Les graphistes peuvent obtenir davantage d’informations sur Muse en visitant le site  http://muse.adobe.com où ils pourront télécharger la version bêta gratuite (en anglais uniquement), découvrir une galerie de sites web créés avec le logiciel et accéder à des didacticiels de formation.

August 30, 2011

Safari, Musée des Beaux-Arts Nantes : La place et le role de l'animal dans la création artistique


Le musée des Beaux-Arts de Nantes propose jusqu'au 25 septembre 2011 un parcours spécifique dans ses collections permanentes sur le thème de l’animal et s’associe à l’exposition SAFARI conçue par le commissaire Patrick Joly pour le Lieu Unique (10 juin - 4 septembre), ainsi qu’à l’exposition d'Emilie Pitoiset à la Zoo Galerie (10 juin - 16 juillet). En résonance, le Frac des Pays de la Loire décline la même thématique avec Animaux/Animots (10 juin - 25 septembre).

LA PLACE ET LE ROLE DE L'ANIMAL DANS LA CREATION ARTISTIQUE

Ce parcours qui traverse les siècles amène à constater que chaque époque a son bestiaire de prédilection. La déambulation chronologique, signalée par des cartels spécifiques, permet de saisir la place et le rôle de l’animal dans la création artistique.

Aux XVIe et XVIIe siècles, les représentations animales sont le plus souvent chargées de références bibliques, mais également mythologiques ou proverbiales. Ainsi, les animaux de l'arche de Noé de Grechetto célèbrent le repeuplement de la terre après le déluge raconté dans l’Ancien Testament. Le chardonneret de Bernado Daddi annonce symboliquement le sang versé pendant la Passion du Christ. La préfiguration du sacrifice du Christ est aussi évoquée par la présence de l'agneau sacrifié de la Cène, peint par Mariotto Di Nardo, comme dans la toile de Guido Reni. Ici l’agneau est aussi employé comme attribut et permet l'identification de saint Jean-Baptiste. La déesse Diane chasseresse, de Gentileschi, est quant-à elle reconnaissable grâce à son lévrier. Osias Beert, s’inscrivant dans une tradition qui remonte au Moyen-âge, utilise la figure du singe comme miroir de l'homme en ironisant sur les bas instincts animaux qui le poussent à la faute.

Héritier du réalisme flamand, le portrait animalier devient populaire au XVIIIe siècle, grâce notamment à la passion des souverains Louis XIV et Louis XV pour leurs chiens et pour la chasse à courre. A partir d’études d'après nature, Jean-Baptiste Oudry, Alexandre-François Desportes et Christophe Huet dépeignent de manière très réaliste ces animaux domestiques ou sauvages. 

Cette tendance se confirme au XIXe siècle avec le maître incontesté du paysage animalier Jacques Raymond Brascassat. Il offre à ses scènes animalières des paysages proches de ceux de l'école de Barbizon, ainsi que des formats monumentaux. Dans un contexte darwiniste, Emmanuel Fremiet apporte à la sculpture animalière une dimension scientifique en étudiant les espèces animales au Muséum d'histoire naturelle et en citant le nom savant de l’animal Gorille – groupe plâtre, Troglodytes Gorilla (sav.) - du Gabon. De plus, afin de se hisser au rang de statuaire, il introduit la figure humaine par le biais de luttes de l'animal contre l'homme.

En ce début du XXe siècle, passionné par les animaux du Jardin des Plantes de Paris, François Pompon abandonne le rendu réaliste en éliminant l'accessoire et le détail pour ne capter que « l'essence même de l'animal ». En privilégiant les contours, les volumes dépouillés, simples et lisses, le sculpteur dote ses œuvres d'une forme universelle radicalement moderne. 

Au XXe siècle, les artistes contemporains favorisent la thématique de l’animal - miroir de l’homme et de son animalité. A l'instar d'Henri Cueco qui raconte l'homme par la figure canine, Maurizio Cattelan, matérialise avec un spécimen d'autruche naturalisé l’expression « faire l’autruche ». General Idea revisite l’histoire de l’art avec ses trois bébés phoques en peluche à la dérive, personnifications des trois membres du collectif. Francis Alys montre quant à lui l'attitude de l'homme, ici le "gringo", l'étranger, le touriste, pénétrant en territoire inconnu et entrant en conflit avec l'animal, encore une fois ici miroir de l'homme.

L'œuvre de Rosemarie Trockel, prend une dimension féminine et joue de la dialectique du vice et de la vertu : la blancheur quasi virginale de la chemise est troublée par la présence de l’araignée, métaphore de la mort et/ou de l’abandon. On retrouve cette même fragilité face au monde chez les animaux gisants de Christine Laquet. Rebecca Horn personnifie la veuve noire, cette araignée au venin dangereux qui tue le mâle après la copulation. A l'aide d'un moteur, l'artiste met en scène la séduction avec ces plumes qui se déploient, tel un oiseau qui fait la roue. 

D’autres artistes, tel que John Murphy, s'inspirent quant-à eux des cabinets de curiosités constitués par les collectionneurs érudits des XVIe et XVIIe siècles, qui rassemblent des objets et animaux extraordinaires. En écho, l’œuvre de Jana Sterbak avec cette main dont les doigts sont revêtus de cônes fabriqués à partir de mètres de couturières, fait directement référence à l’image de cornes de rhinocéros ou de taureau. Enfin, chez Chloe Piene et Fabrice Hyber, des créatures hybrides à la fois humaines et animales apparaissent dans des compositions énigmatiques. 

LISTE DES ARTISTES 
16e siècle : Bernado Daddi, Mariotto di Nardo
16e & 17e siècle : Il Grechetto, Guido Reni
17e siècle : Giovanni Battista Beinaschi, Orazio Gentileschi, Osias Beert, Frans Snyders
18e siècle : Jean-Baptiste Oudry, Christophe Huet, Alexandre-François Desportes
19e siècle : Jacques Raymond Brascassat, Emmanuel Frémiet
20e & 21e siècle : Maurizio Cattelan, Francis Alÿs, Henri Cueco, Rebecca Horn, Fabrice Hyber, Christine Laquet, John Murphy, François Pompon, Anri Sala, Jana Sterbak, Chloe Piene, Rosemarie Trocke

En écho à SAFARI (Salle Blanche) Spike waves  de Jean-Claude Ruggirrello présente une installation vidéo et sonore inédite mettant en scène une tortue et des grillons.

Musée des Beaux-Arts de Nantes

August 26, 2011

Gainsborough, Dulwich Picture Gallery, London. The masterpiece represent the National Gallery of Art Washington DC at the Bicentenary celebrations of Dulwich Picture Gallery


The masterpiece Mrs Richard Brinsley Sheridan by Thomas Gainsborough (photo) from the collections of the National Gallery of Art, Washington DC, on view in London at the Bicentenary celebrations of Dulwich Picture Gallery

Thomas Gainsborough

Thomas Gainsborough (1727-1788), Mrs. Richard Brinsley Sheridan, 1785-87 
Oil on canvas, 220 x 154 cm, National Gallery of Art, Washington, Andrew W. Mellon Collection
Image courtesy of the National Gallery of Art, Washington

Known in their times as the ‘nightingales’, Elizabeth and Mary Linley were the most beautiful and talked-about young girls in Bath’s society in the 1770s. From a musical family, they were applauded on the theatre stages of Bath and London, as much as they appeared in the newspapers of the day as society figures. They were portrayed together, in 1772, by THOMAS GAINSBOROUGH, who was a close friend of their father’s, and their neighbour in Bath. The painter had seen Elizabeth and Mary grow before his eyes and tenderly represented them in their magnificent large canvas known as The Linley Sisters, now at Dulwich Picture Gallery.

In the same year as the Dulwich painting was finished by Gainsborough, Elizabeth eloped to France with the young playwright Richard Brinsley Sheridan, causing a great scandal. A year later, in 1773, the two were married. Elizabeth did not expect the marriage to be an unhappy one, constantly marked by Sheridan’s infidelities. Elizabeth gave up singing and supported her husband in his career as a writer and politician.

Gainsborough was to portray Elizabeth at different points in her life. This is his last image of her – aged thirtyone- only a few years before her untimely death of tuberculosis in 1792. Elizabeth sits under a tree in the open countryside – a windswept valley so different from the delicate violets and primroses of the earlier double portrait at Dulwich. Elizabeth’s entire figure is transformed by the romantic wind in the canvas, just as passion swept her short life. After her death, William Jackson noted that ‘as a singer she is perished forever, as a woman she still exists in a picture painted by Gainsborough.’

Earl A. Powell III, the Director of the National Gallery of Art Washington, said: “We are delighted that Gainsborough’s Mrs Richard Brinsley Sheridan will represent the National Gallery of Art at the Bicentenary celebrations of Dulwich Picture Gallery.” 

Every month during the Gallery’s Bicentenary celebration year a spectacular masterpiece will hang on the end wall of the Gallery’s enfilade. The masterpiece will be on display from 6 September - 2 October 2011.

DULWICH PICTURE GALLERY
1811-2011 Gallery's Bicentenary celebration
LONDON SE21 7AD
www.dulwichpicturegallery.org.uk

August 25, 2011

Mata Isaeus-Berlin at Baukunst Gallery, Cologne


Meta Isaeus-Berlin, Moon Dreams, Baukunst Galerie, Cologne 

Swedish artist META ISAEUS-BERLIN paints banal and everyday objects such as: plants, ornaments and landscapes. Her works deal with emotions including loneliness, fear, lust, desire and sensual pleasure. Baukunst, Cologne, presents Meta Isaeus-Berlin's most current oil paintings and pencil drawings which deal with Arcadien landscapes.


META ISAEUS-BERLIN

Meta Isaeus-Berlin, The Cave, 2011
Oil on canvas, 180 x 180 cm, signed, dated and inscribed verso
© & Courtesy Meta Isæus-Berlin - Baukunst Galerie, Cologne, Germany 

Meta Isaeus-Berlin is an attentive observer of her direct surroundings; among others she examines the lives of her adolescent daughters. She is bringing her thoughts and emotions onto the canvas. In her previous compositions she broached the issue of interiors. In her most current colour intensive and figurative pieces - partly melt into abstract landscapes and fauna- she instills those deserted landscapes with an emotional life, which is mostly hidden from other people. The diversity of themes in Meta Isæus-Berlin's pieces, is reflected in her choice of titles. Her previous paintings can be seen as enlivened rooms which transform over the years into enlivened landscapes. In this exhibition the Italian renaissance garden as well as the ideal Arcadien landscapes are sources of inspiration.

Visualizing the soul is one of Meta Isæus-Berlin's favourite subjects. Her compositions seem to be surreal and the borders between reality and dream, between unconsciousness and consciousness become blurry. The beholder will be taken into a world filled with Arcadien myths and with the artists own symbolic language. Fore- and background start to merge (e.g. Mating Call) and through several narrative levels the spatial feelings disappear and a feeling of discomfort is evoked. Through the systematic use of colour and her symbolic language, Meta Isaeus-Berlin achieves atmospheres which include a psychological dimension.

In The Vision Comes in a Dream we see a girl whose inner life is presented on a table with a white table cloth. In the background the mountainous bald landscape recurs on the table - dream and reality are not to be kept apart from one another. For Meta Isæus-Berlin's paintings and installations water is of great importance; it appears in a multilayered and intense blue. The blue water can be metaphorically considered, the soul. The mountains and the sky are blue as well and they can be interpreted as the lostness of the girl in the wide world of emotions. 

Stalagmite and stalagtite appear in expressive colours, and the space in The Cave dissolves (photo). In the middle of the painting water is simultaneously dropping down from the top to the bottom and ascent spectral. The unseizable upward movement gives the painting a dynamic, unreal and dreamy effect. The artist achieves this effect not only through a watery way the colour is applied but also through her detailed way of painting. Undercurrent for example is her first piece where she combines ink and oil paint on the canvas at the same time. Her virtuosic brush handling and many years of experience with oil paint and solvent gives her the skill to create a remarkable atmosphere in her paintings. 

META ISAEUS-BERLIN BIOGRAPHY

Meta Isæus-Berlin was born 1963 in Stockholm and studied applied arts and design from 1984 to 1986. Afterwards she continued her studies at the Royal Academy of Fine Arts from 1986 to 1993. Her work was already presented world-wide in international exhibitions – among others at the biennial art festivals in Venice, Istanbul, Johannesburg and Melbourne as well as at museums in Breda (NL), Thessaloniki , Helsinki, Copenhagen, Madrid and Barcelona. Since 2005 the work of the Swedish artist is present at art fairs like Art Basel, Art Basel Miami Beach and the Armory Show in New York.

Meta Isaeus-Berlin, Moon Dreams, Baukunst Galerie, Cologne, 8 September - 10 November 2011 

BAUKUNST GALERIE 
D - 50668 COLOGNE 

August 24, 2011

Arkansas Arts Center Exhibitions 2012



The Arkansas Arts Center, Little Rock: 2011-2012 schedule of exhibitions 

“This season's exhibition schedule continues the 50th anniversary celebration of the Arkansas Arts Center,” said Executive Director Dr. Todd Herman.  “The theme is ‘Your Arkansas Arts Center’ and the exhibitions focus attention on our permanent collection and on traditional exhibitions that highlight the Arts Center's continued outreach into the artistic community such as the Delta Exhibition, Young Arkansas Artists and the National Drawing Invitational.” 

In celebration of New York artist Will Barnet’s 100th birthday, the Arkansas Arts Center will present the special exhibition Will Barnet at the Arkansas Arts Center: A Centennial Exhibition.  This exhibition will display a vast array of works by Will Barnet from the Arkansas Arts Center collection. 

Dr. Herman said, “The Arts Center is very proud to organize the exhibition Will Barnet at the Arkansas Arts Center: A Centennial Exhibition.  A centenarian, Will Barnett has experienced and absorbed all the major art movements in American Modern art.  Not only was Will Barnet an influential artist in negotiating a transition from figural art to abstraction in the ‘40s and ‘50s, but as a teacher at the Art Students League in New 
York, Barnett influenced a number of America's most original modern artists such as Jasper Johns. The Arts Center will display more than 75 drawings given to the AAC by the artist in honor of his long-time friendship with former director Townsend Wolfe.” 

Every year, the Arkansas Arts Center holds the Collectors Show & Sale, a favorite of visitors.  This annual tradition brings a taste of the New York gallery scene to Little Rock.  The show encourages local collecting by presenting a variety of works on paper in all media from more than 20 New York galleries. 

“This year will also feature the popular Collector's Show and Sale, now in its 43rd year. After scouring galleries in New York, a selection of works will be brought to Little Rock for display at the Arts Center--and everything is for sale,” stated Dr. Herman.  “Given my background in Old Master drawings, look for a few more earlier examples of the draftsman's art in this year's installment as well as contemporary craft and glass works. I hope this exhibition inspires even more people to begin collecting art.” 

“This is YOUR Arkansas Arts Center and a treasure for this state. I would encourage those who are seasoned members and visitors to take a moment on your next visit and reacquaint yourself with an old “art friend” or discover something new within these walls—we are always changing. For those who haven’t visited us before, I invite you to experience the wealth of cultural activities the Arts Center offers. Spend a day with us, dine, shop, view art, see a performance—we are free to the public.” 
  
The exhibition schedule features the following exhibitions:   

Building the Collection: Art Acquired in the 1980s, Through October 9, 2011 
Texting: Selections from the Permanent Collection, Through September 11, 2011 
In Search of Norman Rockwell’s America, July 29 – September 18, 2011 
Museum School Faculty: Past and Present, September 16 – November 13, 2011 
Will Barnet at the Arkansas Arts Center: A Centennial Exhibition, October 7, 2011 – January 15, 2012 
Cast, Cut, Forged and Crushed: Selections in Metal from the John and Robyn Horn Collection, October 7 – January 15, 2012 
Building the Collection: Lino Tagliapietra, October 21 – January 29, 2011 
43rd Collectors Show & Sale,  December 2 – 31, 2011 
Horizons Interrupted, January 13 – March 11, 2012 
Masters of American Watercolor, January 27 – March 28, 2012 
54th Annual Delta Exhibition, January 27 – March 28, 2012 
Building the Collection: Art in the 1990s,  February 10 – May 13, 2012 
The New Materiality: Digital Dialogues at the Boundaries of Contemporary Craft, April 13 – August 5, 2012 
Dan Massad: Recent Work, April 13 – June 10, 2012 
51st Young Arkansas Artists,  April 17 – May 27, 2012 
National Drawing Invitational, April 20 – July 15, 2012 
The Rockefeller Influence,  May 25 – August 19, 2012 

Arkansas Arts Center programs are supported in part by the City of Little Rock;  Arkansas Arts Council, an agency of the Department of Arkansas Heritage and the National Endowment for the Arts. 

ARKANSAS ARTS CENTER
9th and Commerce / MacArthur Park
Little Rock, Arkansas 
Web site: www.arkarts.com




August 1, 2011

Christian Gieraths' photos of Mumbay at Baukunst Galerie, Cologne


Photography exhibition : Christian Gieraths - Salaam Bombay, Baukunst Galerie, Cologne

This post presents the exhibition of photographs by the artist Christian Gieraths at Baukunst Galerie in Cologne. It give you informations about the recent work of the german photographer in India. You can also read above a short biography of Christian Gieraths.

CHRISTIAN GIERATHS
Christian Gieraths, R. R. Roy Marg, 2010
150 x 225 cm, pigment print on Epson matt on Diaplex/Dibond
from the series: Beautiful Hell - Mumbai
signed, dated and inscribed verso, edition of 4 (+ 1 A.P.)
© & Courtesy Christian Gieraths / Baukunst Galerie, Cologne, Germany

CHRISTIAN GIERATHS is a flaneur who is interested in the hustle and bustle of a society which develops itself in the pulse of technological progress and which, therefore, is in an ongoing condition of change. He is continuously searching for places where he can find these changes manifested in its historical, political or aesthetic forms. Sotchi, Havanna, Tokyo, Hollywood and Las Vegas have been previous settings of earlier series´ which show a similar picture language: They show deserted places, streets and interiors as well as facades. His focal point of the compositions is always identical. Hence, the viewpoint of the observer as well as the restricted image section remains Gieraths´ criteria for composition. His photographies are comprised by a certain silence that derives from his composition and reminds of film stills. Colour and atmosphere as well as the artist´s viewpoint are most significant. By depicting his compositions in a short span of time he enables the past to become present. Through dealing with these locations and its surroundings, as well as thoughtful observations of the sensual reality and the atmospheric moods, Christian Gieraths transforms his visual experience into photography.

In his latest series Beautiful Hell - Mumbai, Christian Gieraths was confronted with one of the most populated cities in the world. This experience lead him to an unavoidable change of his perspective. His photographies show new tendencies and they still remind of film sets and film stills. Unaware of his picture making, people are starting to become part of his compositions and the choice of his perspective frees. His primary concern to create a composition of colour and atmosphere remains. Gieraths´ photographies seem to remind of documentary in an objective way. But there are no traces of noise, chaos or smells of putridity and spices. Neither is there a vision of luxury or poverty that everyone who travels to India is confronted with. His works impress in an unspectacular and calm way and show a pictorial quality derives from his studies in the class of Prof. Ulrich Erben. It is the result of precise observation and sensible artistic aim that can only be reached through the medium of photography. 

Christian Gieraths was curious about the dream factory Bollywood which he considered a place of new symbolic importance and afflicted with myths for new stories. With a skilled eye of a painter he observes Mumbai known as Bombay until 1996. This city, which became independent in 1947, is shaped by modern buildings and historic architecture of the British colonial style. In Mumbai, nowadays a typical Indian city, Gieraths´ hunted for magic places such as cityscapes, urban corners, streets and buildings that were, or could be used as film sets. Besides exteriors there are sceneries such as foyers, corridors, cinemas, concert halls and projection rooms that become subjects of his compositions. The exhibition´s title Salaam Bombay derives from a film title of the 1980s which reflects Christian Gieraths´ interest in locations for the Hindi film industry, located in Mumbai.

CHRISTIAN GIERATHS - BIOGRAPHY

Christian Gieraths was born in Cologne in 1976. He studied history of art, cultural studies and philosophy before studying fine arts with Ulrich Erben at the Kunstakademie Münster from 1999 to 2005. In 2001 he began to study in the photography class of Thomas Ruff at the Kunstakademie Düsseldorf. In 2006 he completed his master year overseen by Daniel Buetti. In the same year he was awarded with the first prize of the GWK Subsidy Award of Fine Art by the Gesellschaft zur Förderung der Westfälischen Kulturarbeit and exhibited together with Andreas Gursky, Thomas Ruff, Jürgen Klauke and Boris Becker in the touring exhibition Fotokunst aus 60 Jahren. Kunst aus NRW. In 2008 a great solo exhibition followed by a catalogue release in the RWE Tower in Dortmund, and in 2010 Gieraths received a traveling grant of the Kunststiftung NRW for Mumbai, India. The photographer's latest works, produced in Mumbai, India, in 2010 have been made possible through this grant. The Fuhrwerkswaage, Cologne, showed Christian Gieraths´ works, in the exhibition Beautiful Hell - Mumbai from June 26th to July 17th, 2011.

Christian Gieraths' Exhibition dates: 30 June - 2 September 2011
Upcoming: Meta Isaeus-Berlin, Moon Dreams 

BAUKUNST GALERIE 
D - 50668 COLOGNE