Tags archives: visual arts
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8 years ago
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Art for Progress is pleased to announce a summer music & arts program for NYC high school students. The program is designed for students who are interested in a career in the arts and music.
Workshops in music and visual arts will be offered over four dates between mid-July and mid-August. These 4 hour workshops will include guest speakers, professionals in both the visual arts and music. The guest speakers will share their knowledge, guidance and experience as professionals in the art world.
The main objective of the program is to provide continued instruction over the summer months for students who are considering a future career in the arts. Students can also be graduates who are looking for additional instruction before heading off to college or art school.
The planned student to teacher ratio will be 10-15 students with a total of 40-50 students for each date. Space will be limited, and will be on a first come first serve basis. Students can choose to attend one or more workshops, but we suggest you attend all four. Please sign up as soon as possible to secure your place. The specific dates, location (Manhattan) and times will be available soon.
These are the dates for the workshops:
Workshop 1- Sunday, July 22nd- 10:30am - 2:30pm (lunch provided)
Workshop 2- Sunday, July 29th- 10:30am - 2:30pm (lunch provided)
Workshop 3- Sunday, August 5th- 10:30am - 2:30pm (lunch provided)
Workshop 4- Sunday, August 12th- 10:30am - 2:30pm (lunch provided)
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8 years ago
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It was the industrial revolution that first attempted to record sound “as a medium for preservation," activating the phenomena of noise as an integral source when documenting history. Thomas Edison received notoriety for the phonograph in 1877, but it was really Edouard-Lèon Scott de Martinsville who invented the phonautograph in 1857, the first recording device. The device was specifically created to study frequency found in sounds, an intention much different from the phonograph invented by Edison which was to play and “reproduce the recorded sound… originally recorded onto a tinfoil”. As per historical reference ( author unknown ), “The phonograph revolutionized the art of music. Performances were recorded and people could listen to them at their leisure. It also made music and communication more public. The invention signaled the birth of a new form of entertainment and an entirely new field of business that fed the demand for the new invention, the music industry”- hence both inventions put an end to the masses' naiveté to the sense of hearing, and introduced the start of audio’s sensational future possibilities.
When we fast forward through the history of music and sound, we could say that the underground rave music scene (which famously erupted somewhere in between Chicago and the UK during the late 80’s), had a lot of thanking to give the founding fathers of sound, more so Edison’s phonograph. It was the phonograph that gathered groups of people before a speake[...]
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10 years ago
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There was once a professor who consistently lamented people not spending time with a work of art. She felt that consuming art became speedy, mediums were not fully appreciated in their details, and therefore a lot of great artwork may never get proper recognition. It's safe to say this is true for many people, and even those like myself who studied art have definitely overlooked pieces due to the extreme saturation of available art to see, especially in a metropolis like New York City (though it is something I greatly try to avoid while in a space.)
I was stuck in front of Scott Williams' painting 50th Street Maspeth this past weekend, due to the intimate space at Art101 being packed with people, but I'm glad I was. His work first appears like an impressionistic modern landscape - a view of the street, cars parked, sunny day, fence to the side - but the more I stared at it the more odd I found it. I noticed his use of perspective is based on traditional one-point perspective yet it is shifted off to the side thereby disrupting the everyday banality of this type of setting. Furthermore, his use of oil paint appears both deliberate, in regards to shadowing and color, and accidental in regards to the application of paint itself. This imbues the scene with a sense of randomness and further complicates it. He writes of his "chance" paintings - "For on site, 'plein air painting', a map of Queens and Brooklyn was marked with gridded coordinates. Throwing numbered and lettered coi[...]
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11 years ago
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Bushwick Open Studios wrapped up a while back and this year featured a lot of wild installations, fantastical sculptures, and a return to painting. While I was there, I stopped in Pablo Garcia Lopez's studio where I saw his work that mixed all of the three. A couple of weeks later, I went back to sit down with him and talk about his practice and transformation into an artist.
Garcia Lopez did not begin working professionally as an artist until recently - his background is actually in neuroscience. He holds a PhD and still teaches classes. One of his published papers on Santiago Ramon y Cajal, known to many in the field as the father of modern neuroscience, plays heavily into his artistic practice. Cajal moved away from the accepted comparison of the mind to machines, and rather pursued the idea of comparing the mind to nature, specifically plants. Cajal said, "The cerebral cortex is similar to a garden filled with innumerable trees, the pyramidal cells, that can multiply their branches thanks to an intelligent cultivation, sending their roots deeper and producing more exquisite flowers and fruits every day." Writing in the 19th century, his words come into play much later in the silk sculptural installations by Garcia Lopez.
After learning of his background and interest in this matter, I was immensely curious as to how exactly it manifests in the artist's religiously charged works. He explained that his use of silk relates to the individual fibers of the brain, and [...]
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