Tag Archives: art museum

When Ink Art and Underwater Photography Collide

Two seemingly different concentrations of art have been making waves in their recent mash up with artist and photographer Mark Mawson. While not a tremendous amount of information is available about the technique and execution of this brilliant, color-soaked approach, we can speculate on some of the aspects of this thrilling new style.

Water

http://www.paranoias.org/2011/12/aqueous-fluoreau-by-mark-mawson/http://www.paranoias.org/2011/12/aqueous-fluoreau-by-mark-mawson/Water is a funny thing. When we are submerged, it is the one known natural element that resists the pull of gravity by working with the natural buoyancy in our bodies to alleviate some of our weight. Nearly everyone experiences these effects while swimming or taking a bath.

Another peculiar trait is how it spreads and disperses other liquids or particles that have been introduced into it. Think of when you put cream in your coffee, or when you add dye to water to make Easter eggs. The effect is immediate and really quite interesting.

As seen in the picture above, a second liquid-like material introduced into still water creates a shadowing, swirling veil of almost air-like quality that slowly ripples and radiates outward; akin to the slow leak of a pin-pulled smoke bomb.

Ink

http://www.paranoias.org/2011/12/aqueous-fluoreau-by-mark-mawson/

What photographer Mark Mawson manages to capture is thrilling and new in several ways; not only in its gorgeous eye-popping presentation, but also in its incredibly temporary state of existence as well as its unique, un-typified use of ink.

While the featured picture is an amazing and brilliant example of Mawson’s technique, it is certainly not the only approach to this style of art. As you look further into some of the images he’s captured, you’ll notice the endless possibilities for positioning, lighting, and background.

Some pieces are seen with a subtle back drop of flurrying colors (perhaps immersed in the water sooner to capture their translucency), cascading down over a more vivid splotch of color floating in the foreground, constantly shape shifting to create new and interesting views of our underwater art gallery.

To see more of Mark’s work, check out http://www.paranoias.org/2011/12/aqueous-fluoreau-by-mark-mawson/  and see the waves he’s creating by making, well, waves.

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The Louvre Museum in Paris

Did you know the Louvre Museum in Paris is the largest art museum in the world? It was also the residency to kings prior to the Palace of Versailles and is, to this day, a historic monument that represents most nations. Aside from numerous pieces of famous artwork and exhibits, it even houses a McDonalds! (Talk about an experience that crosses cultural divides.)

File:Mona Lisa, by Leonardo da Vinci, from C2RMF retouched.jpgIt is said that the museum is so large an individual who spends 4 seconds looking at each work of art would take 3 months to get through the entire institute. However, it’s hard to imagine how anyone could take only a glance at the famous masterpieces available in this setting — some of which include Leonardo da Vinci’s, “Mona Lisa” and Michelangelo’s Italian Renaissance sculpture, “The Rebellious Slave.”

Open to the public in 1793, the museum has spent the past 2 centuries securing its title as the “Museum among museums.” At the time, it was a home to France’s nobility, and throughout the ages has played a critical role in art history and world politics. Founded during the French Revolution the infamous infrastructure, like the country, was made to evolve, influence, and remain aware of all things new in Europe and throughout the world.

As kings took royal oaths and war raged, the Louvre never wavered under poor leadership or political stresses. She always remained a fortress. In fact, during World War I and II, the museum slowed acquisitions and removed most of the work, hiding them so they would not be taken by opposition forces. Such protective measures allowed the museum to remain the beacon of art history well into the 21st century.

To this day the Louvre advances itself as a “barrier-free” museum. It desires to attract all people within the nation of France as well as those outside the borders. Henry Loyrette, the current president and CEO of the Louvre notes how the museum continues to “play a major role in cultural diplomacy.” This is done through the intrinsic ability art has to dull the divides of contingencies and tensions. It also inspires dialogue between people of different cultures. Ultimately, art promotes respect and forges a common bond for all.

At the present time, the Louvre  houses upwards of 380,000 pieces of art work and has 35,000 of these on display in eight different departments (Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings). The Louvre also exhibits archaeological finds as well. It is the most visited museum in the world and averages 15,000 visitors per day. Aside from being a setting of many movies, the museum was a point of interest in best selling book, The DaVinci Code and the 2006 film. From this filming alone the museum collected $2.5 million and got to showcase its most prominent galleries.

If you’ve had the opportunity to visit the Louvre Museum in Paris, Segmation would love to hear about your experience. Please share your highlights in the comment box below.

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Putting Together an Artist’s Packet

If your dream is to show your artwork in a gallery, one of the most common ways to get your foot in the door is to “wow” them with your artist’s packet.

What is an artist’s packet?

An artist’s packet is the first thing that most galleries will see when you approach them with your work. Most gallery owners are far too busy to let artists drop by and show off their portfolios, so instead they require hopeful artists to send an informative artist’s packet through the mail. This allows them the chance to look through your artwork and relevant information at their own pace.

Before you mail off your artist packet to every gallery in your city, first you should conduct due diligence by either researching the art galleries in person or online. Look at the type of art they show; would your work fit in with the styles and subjects they show? If so, call the gallery or check their website to see if they accept submissions. If they do, you’re good to go.

An artist’s packet is basically your way of “introducing” yourself to a gallery owner and/or curator. Be sure to include:

  • Reproductions of your art – In the old days, it was the norm for artists to send slides to galleries. These days, while some galleries may still prefer slides, many galleries now prefer CDs or inexpensive, but true-to-life, print-outs. You can call the gallery or check their website to see which format they prefer. In any case, make sure you take high-quality scans or photographs of your artwork so that the gallery owner can get a strong feel for what your work looks like.
  • CV or resume – Your CV or resume really shows the what, where, and when of your art career thus far. You should include things like: education, previous exhibitions (such as gallery or museum showings, art festivals, etc), previous and current gallery affiliations, major commissions, works sold or notable private collections, awards and grants, magazine and newspaper mentions, interviews and reviews, workshops you’ve led, artist-in-residence programs you have participated in, and any other art-related accomplishments.
  • Press Clippings – If your work has been reviewed by the press, include photocopies of those reviews.
  • Artist Statement – The artist statement explains the “why” and “how” of your work. It should answer questions like: What are you trying to express? What does the viewer need to know when he/she looks at your work, in order to understand it correctly? The artist statement should never be more than 1 page in length. Remember that gallery owners are busy people – they wouldn’t have time to read more than a page!
  • Bio – Your bio should also not be more than 1 page in length; usually a paragraph will suffice. Your bio will be more casual than the artist statement, letting the gallery owner know who you are and what makes you unique.
  • Business card – A business card shows that you are professional, so be sure to include a high-quality business card in your packet.
  • A letter of introduction – When you put your artist packet together, put the letter of introduction on top of everything else. Address the letter to the gallery owner by name. (If you don’t know the person’s name, call to find out.) Explain to him or her how you first heard of their gallery and tell them why you feel your art would be a good fit. Again, keep your letter of introduction short and sweet – it should fit easily on 1 page.
  • SASE – If you want your materials returned, include a self-addressed stamped envelope.

After you send off your artist packet, you can relax and paint! It is polite to give them a follow-up call a week later to make sure they received the packet, but try not to be pushy. Gallery owners are busy people and they will review your work in their own time.

Good luck!
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Undiscovered Treasures of the Louvre

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Over 8 million visitors flock to the Louvre each year, making this Parisian art repository the most visited museum in the world. With 60,600 square meters (or 652,300 square feet) of exhibition space, the Louvre displays 35,000 works of art, spanning from the late prehistoric era to the mid-19th century.

As soon as they enter the museum, most visitors make a beeline for the Louvre’s main attractions: the Mona Lisa, the Venus de Milo, and the Winged Victory are amongst the most popular of the museum’s offerings. The route to these artistic gems are well sign-posted along the Louvre’s lengthy labyrinth of hallways and rooms that stretch across 4 expansive floors.

However, with such an extensive offering of art, the Louvre offers myriad lesser-known treasures that are captivating in their own right.

For instance, amidst the seemingly endless slew of iconographic Christian paintings, the “Allegorie Chretienne” by Jan Provost offers a more compelling depiction of the Christian allegory, in a style that seems to more closely resemble a cross between Surrealism and contemporary collage, rather than the stereotypical Christian paintings that were being produced at the same time nearly 500 years ago.

Even those who adored the heavy metal “hair bands” of the 1980s will find a piece of art at the Louvre that strikes a chord: Jean-Baptiste Jouvenet’s painting “Le medecin Raymond Finot” is a charming portrait from the early 1700s that depicts a dignified man with an impressive bouffant, a flowing cascade of well-painted curls swirling around his shoulders.

Although the Louvre boasts some of the world’s most celebrated works of art, it also contains endless wonders for those who look beyond the ordinary crowd-pleasers to take a closer survey of the rich variety of art that the Louvre has to offer.

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