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Today we celebrate the 90th anniversary of Vladimir Ilyich Lenins death. The famous communist leader, politician and political theorist died on the 21st of January 1924, aged 53, at his estate at the Gorki settlement (later renamed Gorki Leninskiye). He was one of the leading political figures and revolutionary thinkers of the 20th century. His input into Marxist theory, collectively known as Leninism, resulted in the idea of a socialist republic constructed through the leadership of a revolutionary vanguard derived from the working class. After the October Revolution of 1917, once the Bolsheviks officially came to power, Lenin became the first head of the Soviet Union.
In 1934, Dziga Vertov, a Russian director, screenwriter, and theoretician of documentary films, produced Three Songs about Lenin a propaganda film commemorating the 10th anniversary of Lenins death. Like all Vertovs films, ...
supposedly, Star Citizen is 'doing things that other games don't
|seriously? and this is just for one mode of movement|
They have a clunky interface written by a database designer.
They have a problem with doors.
They have multiple control mappings per vehicle you're in, personal or space.
|Star Citizen - Star Map - MobiGlas|
At the beginning of 2015, New York-based artist Ruby Silvious embarked on a new project called 363 Days of Tea, a visual diary of miniature paintings and collages on used, emptied-out tea bags. While many discard their used tea bags, Silvious celebrates the popular, daily tea-drinking ritual by recycling them for use as mini canvases. Three years later, the artist continues to create her daily paintings, illustrating her day-to-day life.
In addition to her routine tea drinking and painting, Silvious has created various tea bag art collections while traveling. One series titled 26 Days of Tea in Japan (2016) was made from ink, watercolor, gouache, and cut-out origami paper, illustrating her time spent during an artist residency in the Land of the Rising Sun. Her most recent series, 26 Days of Tea in France (2017) features paintings of French gardens and cuisine, and was recently exhibited at LM Studio in Hyres, in southern Frances renowned Cte dAzur region.
The productive artist has also compiled her collections into a coffee table book, 363 Days of Tea: A Visual Journal on Used Teabags, thats currently available to buy on Amazon.
If youre in Philadelphia, you can see Silvious work included in the group exhibition Deemed a Canvas at Paradigm Gallery. If you cant make it to Philly, you can still browse through Silvious daily tea bag art on Instagram while sipping your very own cup o...
Today, we have many perks to life thanks to technology. What was once a far more arduous process, is simplified with the right mechanisms. One of these labor-inducing tasks of the past is the act of creating copies or prints of art. The hardest part of creating copies of a print today is pushing a button or waiting for the printer to warm up. In the past, people didn't have this distinct advantage, so they found manual ways to make printssilk screen printingwhich actually turned out to be a truly viable form of art.
The earliest recognizable form of screen printing appeared more than 1,000 years ago in China during the Song Dynasty. Originally based on a hand-stenciling method, the process soon evolved into using fine mesh stretched over a frame. The mesh was sometimes made from silk, which led to the techniques alternative name, silk screen printing. Since its invention, the technique has hardly changed: once exposed with the desired image, artists transfer their artworks by pushing ink through the mesh using a squeegee onto various surfaces, including paper, fabric, and even wood. Similar to Japanese woodblock prints, one color is printed at a time, so several screens must be used to produce a multicolored image.
During the 1960s, American artists, such as Roy Lichtenstein and Andy Warhol, popularized the technique by using it to mass-produce graphic style prints in bright colors. Their art marked the beginning of the Pop Art movement, and essentially the end of Abstract Expressionism. Since the days of...
Hitting the shelves next month is the We Out Here compilation, featuring some of the musicians that are making London one of the more exciting scenes in jazz, improvised music, and all the cool stuff that doesnt fit neatly into a single category. Its getting released by the Brownswood Recordings label, which was founded 
Branden Koch, Narcissus and Shithole (2018), ink on paper, 8.5 x 5.5 inches (courtesy of the artist)
Sucking at the shithole, an unquenchable leach. Caravaggios pond rendered black hole: no love to reflect, only shitdrug epidemic nourishment for King Narcissisus. Sucking up the shit flushed away by culture, sucking out the clean air. Welcome to Shitsville, USA! Feed! Feed! The raging grand shitwizard! Sucking up your bottom feeder crony shitnibblets! Suck! Suck! Your true reflection is our collective dump now boiling over.
Christian Bonnefoi, PL-1 (1988), acrylic on tarlatan, 23 5/8 x 23 5/8 inches (courtesy CHB, photo Camille Bonnefoi)
Writing about an exhibition one did not see but wished he had is unusual, to say the least. Such is the case with this short piece on Christian Bonnefoi (b. 1948), a French painter whose work I have known since I was an art student in France in the late 70s, when it first emerged on the Paris art scene.
Entitled De lieu, il ny en pas (Theres No Such Thing as a Locus), the show in question, a comprehensive survey of recent works from 2008 to 2014, took place from April to June 2015 at the Matmut Center for Contemporary Art in Saint-Pierre-de-Varengeville, Normandy, France, and was accompanied by a catalogue with informative essays by the artist on his thought process.
A vital presence in contemporary French painting, Bonnefoi has been circling the New York art scene for years. He never gained a proper gallery foothold here, contrary to Bernard Frize, for example, another French abstract painter of roughly the same generation, who has had more regular exposure.
In the spring of 2016, Bonnefois work was shown in Soho at the Westreich-Wagner Art Advisory Space, whose collection was exhibited at the Whitney Museum in the fall of 2015. More recently, in the spring of 2017, he had a major one-person exhibition at the Campoli Presti Gallery in London, followed later that June by a symposium on his work organized by Mick Finch at the Central Saint Martins Art School.
One of the first aspects of Bonnefois work to strike the viewer is his use of scrim-like material, such as tarlatan gauze an open-mesh fabric often used by house painters to repair cracks in walls or the more recent German-made Trevira fabric, instead of the usual opaque cotton canvas or linen.
The result is a painting conceived as a see-through screen where the stretcher bars and the wall behind them peek through the surface and are present in the viewers mind as part of the overall image. Blank, unpainted areas, reminiscent of the patches of bare canvas that Czanne left in his late work, es...
A master of transforming architecture into sculpture, Microscape, is back with another highly detailed site model of a beloved American city. After the enormous success of their New York City scale model, they are back with another 1:5000 scale replica of Chicago.
Microscape's 3D printed cities are fully customizable, coming in square sections that allow you to select the areas of the city you love the most or fit together several areas like pieces of a puzzle. For the Windy City, the firm has created the replica from 9 square miles of the downtown area, broken into 36, 6-inch by 6-inch squares. So whether you want a model of Willis Tower on your desk as an architectural sculpture or the full downtown map as a piece of wall art, Microscape can make it happen.
And since you can have as littleor as muchof the Chicago replica as you'd like, you can enjoy the beauty of an architectural scale model without having to sacrifice space in your home or office. A searchable map on their website allows you to see the different areas of the site model that are available, even letting you type in a monument or street address to quickly access the quadrant that suits your needs. Microscape guarantees the accuracy of its 3D printing, as it manually processes aerial scan data, meaning that it can also evolve over time as new buildings pop up.
Looking for your own piece of Chicago? At the time of writing, Microscape was making the first pieces available to Kickstarter supporters and with over 200 backers, it's sure to be as successful as their previous model.
SZAs debut album provides a lesson in quietudes declarative force. Not musically the astutely titled Ctrl, a shiny, crunchy, whirring R&B concoction, abounds with ear candy. Its in the caution of her beats, the restrained restlessness of her melodies, the felt hesitancy of her vocals. These songs shimmer, awash in a sort of melancholy that faintly pervades the album without becoming overt. I hesitate to praise a performer for reticence, but the subtlety of SZAs gestures demands notice.
Ctrl is a genuine sleeper hit. It was released last June to modest acclaim and impressive chart success without scoring a hit single. (Although Love Galore sounds great when played on certain hip-hop/R&B stations, and her guest vocal on Maroon 5s What Lovers Do spruced up a passable pop-funk extravagance.) Yet the album went gold in October before suddenly appearing on the year-end lists of every music critic alive. Im not surprised, for Ctrl is what seekers of aesthetic difficulty call a grower, the kind of album whose stunning details blossom after prolonged microscopic contemplation.
As a snapshot of R&B in its modern incarnation, the albums blend of erotic and confessional modes fascinates. SZAs preferred songwriting device is to simulate the outpouring of emotion, the freeform venting of moods and wishes and anxieties crisscrossing and backtracking through her psyche, all molded into unified expressionistic bursts. Yet she also writes within the familiar R&B tradition, in which formalized pop songs are representational vehicles for desire, and shes not above licking her lips over invoked and addressed lovers or recoiling, as the case may be. Thus do the songs on Ctrl occupy a space where insecurities over sex, romance, and gender are credibly illuminated, coexisting as they do with music committed to functionalism and the pleasure principle.
Since excess subtlety has a way of shriveling R&B until its attenuated shell, stripped of any residual genre marks, dissipates into the wind, its worth stressing that Ctrl is a sneakily hooky album in the best way. Chewy tunes and underlying ostinato harmonies sna...
Jean Fick, AMBASADEUR MONDIEU N.23. A+L (circa 1941-46), journal, 90 pages, ink, pencil, and watercolor on paper, 4 3/4 x 2 3/8 inches, collection abcd/Bruno Decharme (photo courtesy of Collection abcd)
Has there ever been a time when artists from writing cultures have not been intrigued by the expressive character of what linguists sometimes refer to as visible language? Of course, in some traditions, such as that of ancient China (as well as that of Japan, whose language uses Chinese characters that are often pictographic), calligraphy an art of brush and ink gives form to both the literary and the artistic. In such cultures, to a remarkable degree, the acts of composing words and of drawing or painting images can become indelibly fused.
Such points of reference along with Egyptian hieroglyphs; illuminated medieval manuscripts; decorative Islamic calligraphy; hand-written diaries and letters; hand-painted signs; advertising posters; and comic books may come to mind while visiting Vestiges & Verse: Notes from the Newfangled Epic, an exhibition that opens tomorrow at the American Folk Art Museum (and will remain on view through May 27).
Organized by Valrie Rousseau, AFAMs curator of self-taught art and art brut, this survey calls attention to the integration of text and image in works made by a diverse group of artistic autodidacts. In them, these two elements are inseparable and, expressively speaking, equally potent.
Many of the illustrated texts or are they annotated pictures? on view feel so intimate in character that to see them gathered here, exposed, is to enter into a zone of heightened aesthetic awareness of their makers deeply personal motivations and of the creative process itself....
Just a few days ago DZIA and Bartkore wrapped up their collaborative mural next to a canal near the town called Bocholt in Belgium. Knowing each other from festivals and other jams over the years, this was the first time these two artists collaborated. Located under a bridge, a very impulse collaboration between the artists happened and the piece was completed in just 3 hours!
Our styles arent that compatible at first sight, but there is always a way to collide and I think we nailed it with this one. Also its always a pleasure to work with someone who paints fast and has his own style and world of characters/puppets to choose out.
It was stormy weather in Belgium so we had to find a wall protected against the hard wind. The spot is below a bridge next to the canal near the town Bocholt. I always try to find an animal that relates to his surroundings so it was an ideal place to create this giant colourful duck, and Bartkore added his humanistic puppet on top like it was riding it and he added some rubber ducks on the sides to suit the composition of the wall.
Check out more detailed pictures below and keep checking back with us for more updates from Belgium!...
Pablo Picasso, Reclining nude (April 4, 1932), oil on canvas, Musee National Picasso, Paris (photo RMN-Grand Palais, Musee National Picasso, Paris, Rene-Gabriel Ojeda; Succession Picasso)
PARIS The more than 110 paintings, drawings, engravings and sculptures by Pablo Picasso included in Picasso 1932: Anne Erotique (Picasso 1932: Erotic Year) arrive as the world grapples with an avalanche of accounts of sexual abuse by powerful men. Creeping along an earlier, risqu line, Picassos sexual politics in 1932 were not that great either. At a libidinous 50 years old, he was still cheating on his ballet dancer wife Olga Khokhlova (with whom he had a son, Paulo) with Marie-Thrse Walter, who was 17 when they first slept together in 1927 (when he was 45). Picasso had met Walter by chance that year in the street and asked her to pose for him. She agreed to do so and went on to become his mistress and stayed so for almost 10 years; in 1935 she gave birth to a daughter, Maya Widmaier-Picasso, who in turn was the subject of the recent show Picasso and Maya: Father and Daughter at Gagosian Paris. This five-year gap between 1927 the year of Picassos first encounter with Walter and 1932 the subject of Picasso 1932: Anne Erotique may account for why I felt a distinct absence of explicitly erogenous imagery on display. Indeed, in that respect, the show did not live up to its suggestive billing, though it did provide other pleasures in spades....
On the 20th of January 1929, the movie In Old Arizona was released on the wide cinema screen. This American Western directed by Irving Cummings and Raoul Walsh prides itself in being the first major feature film to use the new technology of sound whilst being filmed in outdoor locations. Although its plot, acting and visuals were far from perfect, the film is remembered for simply being an early example of technical innovation in moviemaking.
The film made extensive use of natural settings, filming in Bryce Canyon National Park, ion National Park in Utah and the San Fernando Mission and the Mojave Desert in California. It was also amongst the first in developing the image of the singing cowboy, based on the character of the Cisco Kid from the short sto...
A post shared by Kostis Georgiou (@kostisgeorgiou) on Dec 5, 2017 at 3:45am PST
Greek artist Kostis Georgiou has created many red, figural sculptures over the years, from gangly animals to towers of people, balanced like gymnasts. But one of his recent works of a winged, red individual, intended to represent a guardian, has been perceived by religious conservatives as a Satan figure. It has been the target of protests since its installation last month in the southern Athens suburb of Palaio Faliro, culminating in its forced removal by protestors late Wednesday night.
A sign from the 2018 Womens March in New York (photo Hrag Vartanian/Hyperallergic)
On January 20, 2017, many people in the art world came out on a strike called J20 to protest the Donald Trump inauguration. It came in response to a call for which I was one of the signatories: no work, no school, no business. A strike in galleries, museums, art schools, and universities is necessarily different to a strike in a factory or other conventionally unionized workplaces. A year later, its time to reflect on how different modes of resistance have unfolded. What does striking mean now? What has happened to all the promises of commitment and engagement that were made a year ago?
Take the complicated case of the Whitney Museum. It held a widely-covered Speak Out in 2017, a platform organized by Occupy Museums. It was nonetheless held in the museum, meaning staff had to work, people had to get tickets on a pay-as-you-will basis, and the theatre filled to capacity, shutting many out. Not a perfect strike, then. And despite director Adam Weinbergs pledge to stay strong over the years ahead, theres nothing on at the Whitney this year on J20.
The main voice out there this year is the all-star Art Action Day, which has defined J20 as silence. In this view, the strike is simply a negative, or an absence. If the strike is framed in this fashion, it takes away one of the oldest, most flexible and effective tools available to those challenging authority. J20 did not make a negative call. Its refusal to comply with business as usual was intended to ramify into the future and to create the conditions for ungovernability.
To strike in this sense is a positive movement over time away from the society of control toward becoming ungove...
Viewed as a much-needed revival of art and culture, the Renaissance played a pivotal role in ushering Europe out of its Dark Ages and into a world of enlightenment. Beginning in the 14th century and coming to an end in the 17th, this golden age swept the continent, culminating in two distinctive yet unified art movements: the Northern Renaissance and the Italian Renaissance.
Based north of the Alpsnamely, in Flanders and the Netherlandsthe Northern Renaissance was the first of its kind. This movement began in the 14th century following a renewed interest in secular subject matter. Soon, Renaissance ideas spread throughout Europe. This led to the Italian Renaissance, which began in 1400 and reawakened Italy's interest in Classical antiquity.
While numerous figures shaped both the Italian and the Northern Renaissance, today, a select few are particularly praised for their contributions to Europe's golden age. Here, we present these artists and take a look their most well-known masterpieces.
Today, painter and printmaker Pieter Bruegel the Elder (c. 1525-1569) is regarded as the master of Dutch and Flemish Renaissance art. With a penchant for painting scenes of lower-class lifeevident in Netherlandish Proverbson top of more common religious iconography (like the tower of Babel) he is esteemed for his unique approach to subject matter. Additionally, his crowded canvases are distinctive for their detail and, with their beautiful backdrops (like the icy peaks in The Hunters in the Snow), their influence on modern landscape painting.
Activist theater group BP Or Not BP? unfurl a banner in the British Museum in protest of BPs sponsorship of the museum. (photo by Kristian Buus, courtesy BP Or Not BP?)
On Sunday, visitors to the British Museum were met with a 36-foot-tall banner visualizing the 2,727 oil spills caused in one region during one year by Rosneft, the state-controlled Russian energy giant in which BP, a highly visible sponsor of the museum, has a major stake. The activists who unfurled the banner, members of the activist collective BP Or Not BP?, also dropped more than 2,000 pieces of confetti shaped like drops of oil into the Great Court, each one symbolizing a spill by the BP affiliate in Russia....
Zarina, Abyss (2013), woodcut on BFK light paper mounted on Somerset Antique paper, edition of 20 with two artists proofs and one printers proof, 16 3/4 x 13 inches (photo by Farzad Owrang, Zarina; courtesy the artist and Luhring Augustine, New York)
In her exhibition Dark Roads, Zarina Hashmi commemorates the 70th anniversary of the 1947 Partition of India that created the nations of Pakistan, and later, Bangladesh. Zarina born in 1937 in Aligarh, a city in north India, and who now lives in New York prefers to go by her first name. Along with co-curator Alexandra Chang at the Asian/Pacific/American (APA) Institute at New York University, she selected works from the past three decades that speak directly to the ongoing impact of the upheavals resulting from Partition, as well as the underlying disruptions created by colonial powers, subsequent wars, and internal divisions.
Zarinas etchings, woodcut prints, and handmade paper sculptural works circle around her personal narrative of displacement and her own subjectivity. As she put it in an interview last year, her works are colored by the vocabulary of flight, borders, what it is to be separated from your family, and the realities of being a peripatetic, dissident other in the US. But her work also reflects on the exodus of contemporary refugees, exiles, and migrants from locations where power, resources, territories, and borders are contested....
Photographer Tatsuto Shibata (known as _deepsky on Instagram) is known for his ability to capture the spirit of modern Tokyo. From the chaotic main avenues to quiet side streets, Shibata's photographs show just how multi-faceted the metropolis really is.
Even oft-photographed spaces, such as the expansive crosswalks of Ginza, take on a new dimension through his lens. Shooting at the perfect time of day, his aerial perspective captures the elongated shadows of commuters and tourists, providing a dynamic light and shade to the composition. Tokyo is one of the biggest cities in the world and it is always crowded, the photographer tells My Modern Met via email. Everyone is hustle and bustle. I enjoy photographing the chaotic street views of Tokyo.
But for every chaotic view, Shibata manages to sneak in some quiet moments on the side streets of Shinjuku or the reflective beauty of colorful fireworks. Look through his feed and you'll discover there's more than just Tokyo in his repertoire. Shibata travels far and wide, whether south down to Kyoto, within Asia to South Korea and China or across the ocean to New York City. No matter the location, he manages to frame the scene perfectly, transporting his followers to each city.
Nasser Rabbat on the Louvre Abu Dhabi
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