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Jose Romussi, nació en 1979 y es originario de Chile. Su interés por el arte comenzó mientras crecía y viajaba con su madre viéndola pintar y enseñar arte por

A short video of El Anatsui in his Nigerian studio. There is a stunning piece of his in the Seattle Art Museum's African collection, curated by Pam McClusky. Excerpted from Intelligent Life Magazine, reported by Paula Weideger. Many African artists prefer to work with materi­als found near to hand. But just why were there thousands of bottle tops on Anatsui’s doorstep? The answer has to do with recycling. Drinkers return empty gin and whisky bottles to their local distiller, where they are refilled and given new caps. There is a keen market for the cast-offs. Melted down, they are transformed into cooking pots. Thirst being what it is, Anatsui has no trouble buying what he needs. Some 20 men work on the hangings. They sit on the floor or hunch over tables in a large, open-plan studio. The round tops are cut out, the remaining aluminium is made into strips. Each element is pounded flat and pierced. Round ones are threaded together with round ones, strips with strips. Anatsui tells his crew what colour combinations he wants. These are then put together in sections, or units as he calls them. A unit might be two feet square or smaller. “Working with the rings that hold the caps—that is very, very slow,” Anatsui says. “A few inches in a day. But when you work with the shaft of the cap that is very fast, because the basic unit is big.” Although he used to make preparatory drawings for his wood sculpture, he does no drawings for these pieces. “Now, I place things on the floor and move them around,” he says. “When I like where it is, it gets linked up. There are a lot of permutations all along the route.” As the tapestry takes shape it begins to look like a giant jigsaw. But there is no pre-existing image. Even the artist may not know exactly what he’s looking for until it comes into existence on the studio floor.

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"Gli" (Wall), 2010, at the beginning of the exhibition area, Brooklyn Museum What a life trajectory. El Anatsui's work...

Top 20 El Greco Famous Paintings [Fine Art Masterpieces]. El Greco is likely one of the most notable artists of his time, he was viewed as a painter of the soul, he was one of the most persuasive painters, which set the foundation for some to pursue.

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primitive and sacred art, esotericism, spiritualism and folklore are only a few of the metaphysical motifs that inform the magical work of el gato chimney.

Once upon a time (in my first year of teaching), I taught a tessellation project to my 4th grade students. Just like any good fairy tale, at some point things took a turn for the worse. As great as some of the projects turned out, I was exhausted by the amount of hovering it required me to do as a teacher and left me yearning for a different project. But again, just like any good fairy tale, this story has a happy ending... After taking a 3 year break from tessellations, I have finally made my comeback with an awesome tessellation project for my 5th grade students. Yayyyy! I started this project by showing my students an awesome PowerPoint that I put together that explains exactly what a tessellation is, some famous examples from history, and then differentiates between the 3 major types of tessellations: translations, rotations, and reflections. After showing them the PowerPoint, I gave each of my tables a basket that contained a few 3"x3" pieces of tagboard, a written set of directions (in case students get confused), scissors, and tape. Then I showed them step-by-step how to create a translation tessellation piece using my document camera (see the directions to the left). **A trick that I used this time teaching was to have students draw their shape from one corner to the adjacent corner. That way they don't have to worry about lining up the cut-out piece directly across from the original cutout.. you just have to line it up on the side. (This sounds confusing.. just look at my visual below.) Once students finished creating their own pieces, I passed out large sheets of scrap paper and had them practice making tessellations with their piece. This was their opportunity to make sure that their piece was properly crafted and that it would work. This was also a great opportunity for me to be able to walk around and assist those that found that their piece wasn't working. Once they verified that their pattern piece would work, I asked them to turn their piece around and see if they could see something that they could make their shape into (some type of character or monster). Monsters are honestly the easiest to do because, as I explained to my students, you can take any type of blob shape and slap some eyes on it and call it a monster (just being real). :) Once my students knew what they were going to make their shape into, I gave them a sheet of 9"x9" white drawing paper to use for their final project. I advised my students to use the original edges of their tessellation piece to help them to line up their shape on their sheet of paper. Even though this cuts off part of the piece, it really does help to make sure that everything stays properly aligned. I also explained to them that just because you can't see the whole shape, doesn't mean that they shouldn't add the additional details they were planning to add for their character - they just need to add what they can see. Once their pencil drawing was done (including adding details), students were asked to outline everything with a sharpie marker, and then add color with either crayons or color sticks. Many of my students decided to take their tessellation patterns and make each shape into its own character in a series (instead of just repeating the same thing over and over). Doing that really helped to keep more of my kids engaged in finishing their project because it made it a little more creative and a little less repetitive. If you are interested in this lesson, I have an incredibly awesome package posted up in my store. Seriously.. it has EVERYTHING. Included in the package: 1. Tessellation PowerPoint: An introduction to what tessellations are, a brief history, M.C. Escher (with a link to a interview he did), his influences, his artwork, and the three main types of transformations used in making tessellations – translation, rotation, and reflections. This PowerPoint includes animated slides, which make it easier for students to visualize the shape’s movements. 2. Color Your Own Worksheets: Grid-filled pages that students can demonstrate how to draw translation, rotation, and reflection tessellations on. 3. Practicing Transformations Worksheet: Worksheet asks students to reflect specific shapes over horizontal and vertical axes, translate shapes, and rotate shapes. 4. Step-by-Step Direction Sheets: Three step-by-step instruction sheets with visuals showing how to create stencils for all three transformations. These instructions also match up with the included videos, which also demonstrate how to create them step-by-step. 5. Practice Tessellation Sheet: This page includes the base stencil for all three transformations shown in the videos and step-by-step sheets. 6. Transformation Videos: 3 videos demonstrating how to create a reflection tessellation, translation tessellation, and rotation tessellation (including how to do a graphite transfer or light table/window transfer for complex details). Also available in my Teachers Pay Teachers store.

Sus fotografías son como esas cosas que quedan en el aire pero al final tenían que pasar: sobre el tiempo, la identidad, la realidad o el espacio.

Jose Romussi, nació en 1979 y es originario de Chile. Su interés por el arte comenzó mientras crecía y viajaba con su madre viéndola pintar y enseñar arte por

Sesenta años después de su estancia en Valencia, publica con Vicent Todolí sus fotografías valencianas

Erik Jones has a new print available titled, “Bloom”. On sale now HERE. “Bloom” by Erik Jones. 24″ x 36″ Giclee. Ed of 100 S/N. $100

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Explore Dani_vr's 969 photos on Flickr!

From patterned wallpaper to decorative mosaics, tessellation art can be found all around us. But it all began with mathematics.

Victory A. Lundy recalled that during his training, he "never listened, I was busy sketching." But soon, "I sort of took to it. ... war experience just hypnotizes young men." When the aspiring architect was 19 years-old, he enlisted in the Army Special Training Program with a dream of helping to reb

This article was first published in November 2020. Sadly, in November 2021 Els Van Baarle passed away after a long struggle with cancer. We are honoured to

This is a sad painting to say the least. It depicts two penguins holding on while standing on the last piece of iceberg left. After learning about the dangers to the Global Environment such as the greenhouse effect and CFC's, I have a better knowledge about global warming. I think this particular painting symbolizes two things. First of all it symbolizes that global warming is a real issue and must be dealt with. It is imperative that humans help the environment because not only do animals depend on the environment, but humans do as well. Since it was the humans who are responsible for global warming, it should be their duty to reduce or reverse the effects that they have had on the environment. Second, I believe that it symbolizes that nature suffers from man's doing. The penguins are embracing each other, forced to survive on one last hope and that is for man to undo the destruction that he started. This painting is sad but it is a good metaphor for what humans have caused to the natural environment.

Last week I had the extraordinary opportunity of seeing the first U.S. installation of a career retrospective of El Anatsui's work and then ...

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UNDER THE SEA | SS 21

A pretty sweet setting for a quilt retreat isn’t it?! This was the spring morning view as I dropped down into Holter Lake, to teach at my first-ever quilt retreat! What. A. TREAT! This scenic spot is forty miles from Great Falls, Montana. It was a super fun couple of days, with sweet quilters, a gracious hostess, lots of good food, and companionship ... Read More

Hace dos semanas comentaba en clase la importancia de la búsqueda de nuevos materiales en las vanguardias artísticas del siglo XX y en la pintura actual. Comentamos la utilización de cintas adhesivas en la realización de obras figurativas y abstractas. En este contexto os presento la obra del creador ruso Valery Koshlyakov, nacido en 1962 en Salsk (región de Rostov). Valery Koshlyakov (fuente: ogoniok.com ) Valery Koshlyakov estudió en la escuela de arte Rostov M. Grekov. Después de graduarse, Koshlyakov comenzó a trabajar como decorador en el teatro local de la comedia musical. En 1988, Koshlyakov se convirtió en un miembro de la asociación artística "Arte o Muerte" (1986-1990), cuyo líder era Avdey Ter-Oganyan. El grupo incluía a los artistas Y. Shabelnikov, N. Konstantinov, A. Kislyakov, V. Slepchenko, Y. Palaichev; poetas M. Nemirov, I. Burenin, al músico de rock S. Timofeef, gerente V. Lisovsky. Los artistas se hicieron amigos en el Colegio Artístico Rostov. Estaban unidos por la Perestroika, los festivales de rock, y la vida “underground” de los marginados. Su primera exposición tuvo lugar en Taganrog en marzo de 1988. Su obra de vanguardia recibió el apoyo del historiador del arte y coleccionista Alexander Tokarev. La segunda exposición de la Asociación se tituló "Bugbear" y se llevó a cabo en unos pocos meses en la cooperativa ... toilet. Poco después de la "toilet exposición", los artistas se mudaron a Moscú, en cuyos estudios Trekhprudny Pereulok trabajó entre 1991 y 1993. La asociación duró hasta 1991. Sus acciones resultaron una gran novedad en el contexto de la crisis de los últimos años de la cultura de la Unión Soviética. Las acciones y actuaciones de Avdey Ter-Oganyan se hicieron cada vez más radicalizados, sufriendo la censura del gobierno ruso, tal y como podemos leer en Censura en el arte en Rusia (1991-2012) de Oleksandra Dorúnicheva. En cambio, Valery Koshlyakov, más sosegado, antes de trasladarse a Moscú, pintó sobre tela. A principios de los noventas encontró el material perfecto para sus obras: una combinación de materiales "pobres", cartones utilizados como soporte de la obra pictórica. Koshlyakov realizó interesantes "lienzos" con la imagen de monumentos arquitectónicos y escultóricos, iconos del pasado. De esta forma, en sus obras se plasman los grandes monumentos arquitectónicos de Grecia y Roma, esculturas y pinturas del mundo clásico, catedrales góticas, obras del constructivismo, edificios del Moscú estalinista… En el año 2000, Koshlyakov presentó la instalación "Izba" en la Galería Marat Gelman, donde sus obras habían sido realizadas en las paredes con cintas de colores. En 2001, el Museo Schusev de Arquitectura exhibió objetos tridimensionales: cabinas realizadas con cartón pintado, formas que recuerdan elementos del mundo antiguo, de la antigüedad clásica, de la época barroca y de la arquitectura vanguardista. Y en 2003 hubo una exposición en la galería de "Regina" y fue el representante de Rusia en la 50ª Bienal de Venecia en 2003. Realizó reproducciones de cuadros famosos con cinta adhesiva. Madonna Litta. Leonardo, 2009 Cinta adhesiva en plexiglás171 x 134,5 cm Fotografia: Galerie Krinzinger En 2005, Museo del Estado Ruso se hizo otra exposición del artista, titulado "Ikonu. The clothing of spaces”. High-rise on Rau sh s kaya Embankment, 2006. Témpera sobre cartón Tempera on cardboard. 285 x 280 cm. Obra expuesta en ARCO 2012 (Madrid). Templo del Parthenon, 2006. Acrílico 170 x 220 cm Templo Nike, 2007. Óleo sobre lienzo, 220 x 170 cm Fotografia: Galerie Krinzinger Arco, 2007 Acrílico y tempera sobre cartón 310 x 250 cm Notre Dame de París, 2008. Acrílico sobre tela, 200 x 400 cm Ha expuesto en grandes museos de todo el mundo (Galería Estatal Tretyakov, Museo Estatal Ruso, Centro Pompidou, etc.) y está presente en sus colecciones. Vive y trabaja en Moscú y París. Paris, Rue de Rivoli, 2011 Fotografía: Galerie Krinzinger, Viena Para saber más: Exposiciones de Valery Koshlyakov La tercera Bienal de Arte Contemporáneo de Moscú. Valery Koshlyakov Proyecto: Patrimonio 2003 Arco de triunfo 2003 Cinta sobre plástico 205 x 210 cm Patrimonio Proyecto : Imperio de la Cultura 2004 Aphrodite, 2004. Óleo sobre cartón, 330 x 230 cm Proyecto: Tributo a la Centuria de la Ilustración 2005-2006 Fragmento de Ciudad Plaza de la Concordia París 2005 Acrílico sobre lienzo 180 x 440 cm Proyecto: objetos encontrados 2006-2007 Mona Lisa, 2007. Pintura en spray sobre lienzo, 200 x 150cm

Crea retratos vectoriales de estilo pop geométrico denominado arte WPAP con CorelDRAW . Con ejemplos y tutorial en vídeo. Tutorial WPAP con CorelDRAW

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