Yet, you’re highly likely to have seen his work. Jerram exhibits extensively both at home in the UK and around the world, and his art has also become a go-to for news outlets communicating complex scientific ideas. Perhaps you’ve seen one of his frighteningly fragile glass microbes in the news, or encountered an enormous inflatable moon at a festival.

Pianos, hot air balloons, treasure hunts, sound installations: this multi-faceted approach makes Jerram’s work a little hard to define, and his name tricky to place. At its heart is an ongoing interest in perception and space. Some works, such as the installation piece ‘Retinal Memory Volume’, are explicit in this interest. Others, like the giant slip and slide ‘Park and Ride’, take a more sideways view on the topic.

Yet all of Jerram’s works elegantly combine his artistic research with nuanced scientific and technical understanding – but in a way that shows a real, deep connection to his audiences. You can’t fail to be moved by this work (sometimes literally – in the case of the slip and slide).

And this is why the world needs Luke Jerram right now.

The Art of Science

In February 2021, 10 million doses of the Coronavirus vaccine had been administered in the UK. To mark the occasion, Jerram created a new work in his series of glass microbes – a sculpture of the Oxford Astra Zeneca vaccine.

Eight weeks before the start of the pandemic, Jerram had worked with his team of scientific glassblowers to create another sculpture, of a then little-known virus called COVID-19.

As the pandemic hit, this highly detailed and realistic work was used by media outlets around the world to help their audiences understand Coronavirus.

Jerram has been creating his Glass Microbiology series of sculptures since 2004. These works blow viruses and microbes up to one million times their size, a feat which can be achieved by using the same highly specialist glassblowing techniques used to make scientific equipment.

“Scientific glassblowing is done with borosilicate glass, starting off with cold glass which is melted over a flame. It’s called lamp work.“ Jerram explains, “The glass team are able to make things incredibly accurately, to the millimetre. It’s a very defined skill set. There are only about 90 professional lamp workers in the country left. It’s very much a dying art. We’ve really pushed the boundaries of this type of glass – some of the artworks are even too fragile to stand up to gravity. The glassblowers have received OBEs for their work in the arts and their signature is on each artwork as well as mine.”

The sculptures make the microbes alarmingly real to their viewers. More real than many popular scientific images, in fact, which were the prompt for Jerram to start the project:

“I was reading a story about HIV in a newspaper and the illustration used was a brightly coloured diagram. I did some research and found out that viruses don’t really have a colour because they’re smaller than the wavelength of light. So back in 2004 I found a glassblower I’d worked with before and we made a small HIV sculpture as an alternative representation of the virus.”

The Science of Culture

Jerram is known as a scientific communicator. But his work does much more than simply explain – it engages with ease and authenticity.

What is so compelling about his projects is their universality – elegant ideas that quickly become part of our general culture. It’s hard to imagine a city without street pianos, for example, an idea pioneered by Jerram with his 2008 installation ‘Play Me, I’m Yours’.

These works offer a moment of meaning and connection. They make space for you and welcome you in.

Jerram’s moving new installation is titled ‘In Memorium’. This work is an open-air artwork designed to offer a space of solace in a time of social distancing. Flags made from NHS bedsheets are arranged in the shape of a medical logo. The fluttering memorial can be explored by visitors who need a place to grieve, to think, and to be thankful for those that have risked their lives during the pandemic.

What’s that name again?

So whether or not Luke Jerram is a name you’ve heard of, his work is a vital voice in the world right now.

His work goes beyond simply grabbing our attention and helping us to understand complex scientific ideas. This art offers an opportunity to feel part of a society and a culture that we have been distanced from for so long.

It’s thoughtful and compassionate, and just the tonic we need as we step blearily towards a post-pandemic world.

For opportunities to see Luke Jerram’s work worldwide see www.lukejerram.com.

Venues include:

Glass Microbiology
‘Infected’, Rijksmuseum Boerhaave, Netherlands, ongoing
History of Science Museum, Oxford
Barry Art Museum, Norfolk Virginia – COVID19 sculpture
Clear as Crystal: Colorless Glass at the Chrysler Museum, USA, until 3 July

In Memoriam
Harrogate, UK, 28 May  – 7 June
Edinburgh, UK, 26 June – 9 July

Museum of the Moon
Canadian Museum of Nature, Ontario, from 5 September 2020,
Longleat, UK, 19 June – 12 September,
Milton Keynes International Festival, UK, 22 – 25 July
WOMAD Festival, UK, 22 – 25 July

The post Why The World Needs Artist Luke Jerram Right Now appeared first on Artiholics.

Welcome, Stephen! How did you find your way into the art world? Tell us about your journey.

I initially was interested in art by lots of early exposure to it. My parents took me to great museums like the National Gallery of Art and Hirshhorn Museum. My mother used to put me in a papoose-style infant carrier and I’d watch paintings perched on her back. As a kid, I drew and I made Plasticine sculptures routinely and watched my engineer father draw plans for aeronautical projects he did at the Applied Physics Laboratory. Then, after graduating from Maryland Institute College of Art in Baltimore, I moved to New York City to make art. I exhibited some work there and came to a big revelation. After experiencing the isolation of making art alone during an ice-cold NYC winter, I wanted to collaborate with other people and use myself as the medium. So, I took acting classes, did professional theater in Washington, D.C., then moved to sunny Los Angeles to act in feature films and network television. After that long, circuitous route, I found an art studio in L.A. and realized plans for dozens of artworks I had been sketching or making notes on the entire time. Now, I’m back.

You are a conceptual artist. For the uninitiated, what exactly is conceptual art? Please, tell us about your conceptual fine art practice.

The traditional definition of conceptual art supposes that the ideas an artist seeks to explore are more important than the objects or events that express them. I think about it differently. While I have developed big and little ideas, the fine art objects I make and their immediate visceral viewer experience are equally important.

My work exists to raise questions about the roles of creation, the people who author our world and those who engage them both. There is obviously a dependence of one upon the other. These relationships, like those in life and society are key to the art experience. Much of my work presents the elements that make up the intimate setting of home interiors. They often say a few things about comfort, class, lifestyle, and – most importantly – personal identity. Our perception wraps up all of the relationships in our lives, which is crowned by our identity and place within those relationships.

At the end of the day, I am an artist – conceptual or otherwise. I create. We all do, whether it’s high art on a white wall or whistling a favorite song. Sometimes, my art is generated from concise ideas that I feel need exploration or an emotional state I feel the audience might want to share, but haven’t been able to.

Your sculptural explorations express domestic dramas. What brought you to that area of interest?

I have always been interested in origin stories. How did it all start? Virtually all of our origin stories began at home with family. Sounds mundane, but it is very complex when, as a young person, you are not equipped to talk about family dynamics or drama. We unconsciously assign value to events in our home lives – good, bad, strange, amazing, disheartening, enlivening. We are, as the saying goes, “meaning making machines.” But we often pack away contorted meanings of our formative upbringing and forge ahead as adults in a rather compromised way.

I was raised in a suburban planned city called Columbia, Maryland, a place where extra care was taken to promote cooperation and understanding among those with differences in class, race, economic power, etc. It wasn’t some idealized “Walden II” town, but had its merits. I experienced family fights, fear of bullies, mysteries of the unknown, loss, love – you name it. I also developed my identity within that experience. The people who made the choice to live there and raise families also chose an aesthetic to populate their homes, whether in step with their station in life or aspirations in life. In my art, I seek to use these home interior design elements and rearrange their context to help audiences review or dispel the meanings we may attach to them.

How do you create your artworks – from conception to completion?

Ideas for new artwork arrive quickly for me. They often come to me in an early morning waking state, a time when we lose consciousness of self, but are brimming with the experience of dreams. When I wake up, I usually write down a working title or a very basic description of what the work will look like and the material it’ll be made of. For days and weeks, I will determine how to refine or simplify the idea.

Sometimes, simply working in the studio helps to generate an idea. A piece I’m currently showing in Hawaii entitled “What’s Right With This Picture?” came from testing out a router radius corner template on scrap wood. I planned to make four rounded corners on the test piece, but stopped short of the fourth corner, keeping the right angle on the lower right side. Then I filled, primed, sanded and finely sprayed it in many layers with a paint gun. It’s difficult to even call it a “picture” at all or say that it is inherently good or bad, right or wrong. It questions perception and judgment, as much art does, but provides very little to gauge or review perception and judgment with. It floats off of the wall and approaches objecthood, but it’s still largely a flat object on that wall. Is it an idea, an object seeking to break out of the idea, a pun or all of the above?

You currently have three exhibitions. Where are they? Is there one that you are enjoying more than others?

I have work right now at the Cameron Art Museum in North Carolina, in L.A. Stories at the Leo Castelli Gallery at Brenau University in Georgia and in Abstract Only! at the Wailoa Center in Hawaii. I think they are all equally interesting spaces and exhibitions. I admire many of the other artists exhibiting alongside me, like Paul Paiement, Abel Alejandre, Cherie Benner Davis and others. I do love the Cameron Art Museum, though. For part of their light-themed Illumination show, I got to do more tech-based work, which I like quite a bit.

Not only are you a conceptual artist, but also maintain a parallel career as a working professional actor on such network TV series as NCIS: Los Angeles. Did you start your acting career first? What brought you to that career?

I started as an artist, but took a long and important detour into the performing arts world. In art college, I took performance art classes with powerhouse playwrights like Ntozake Shange and learned a lot. I later took theater and on-camera acting classes. I love the idea that with my input and someone else’s input, a third unknown thing – a performance, a film, etc. – can be created. That’s phenomenal to me. I figured as an actor, I could make art of myself and contribute to someone else’s art at the same time. I also loved the idea of reaching a great number of people – of affecting a real change of perception – whether it’s in an art house feature film or an episode of Star Trek: Enterprise seen by millions of viewers.

How do you combine your fine art career with your acting career? Do you prefer one over the other?

That’s a great question. There is definitely an overlap between them, so I feel that one informs the other. The activity of making art gives me private time to review my creative motives and a place to decompress from this high velocity world we live in. My acting performance must be integrated with other performances in real time. It takes me out of my comfort zone, but is immediately satisfying. I can’t say that I prefer one over the other, but since the event of Covid-19, making art seems like the best fit.

You are L.A.-based. How do you like the city? Is it part of your inspiration?

Yes, I have been in Los Angeles for many years now, but I also maintain an art studio in Wilmington, North Carolina, so I can be close to family and get extended breaks from the big city. Los Angeles is a fascinating place with a rich history that includes wars, gold rushes, the rise of cinema, agriculture, aerospace industries, the development of suburbs – you name it. It is a city that holds high hopes and uncanny dreams for many people who move there, but tends to be seen and respected differently by indigenous Californians who have an appreciation of the land and what practical life means there.

In some ways, Los Angeles is an inspiration for my art. The sprawl that makes up Metropolitan L.A. is immense, but each distinct neighborhood – from Koreatown to Beverly Hills – can be called home for its residents. Like I said, I am interested in the artifacts that make up “home” in all of those places. The transitory world of Hollywood in particular is, of course, rife with artifice, accolades and anguish that don’t mean much outside of that insular place. Maybe it’s not even a place – but a state of mind. I’m interested in revealing some of that, too.

Where do you see yourself five years from now?

I see myself making art that really connects with audiences on a significant scale and on a regular basis. Whether it’s on highway billboards, broadcast on iPhones or seen in a venerated museum, I’m totally up for it. I see having significant commercial and institutional solo shows in the U.S., Europe and Japan – and perhaps setting up some cultural exchange programs among artists all over the world.

How has Covid-19 influenced your artwork and your acting career?

Covid-19 is a truly life-altering event for just about everyone, whether they know it or not. Many people who choose to ignore it have to face the bigger change that has come out of this moment in history – and adapt. The people who do accept it also have to adapt and figure out a way to work with those who don’t believe. Clear communication and perception, as well as true acceptance mean a lot in 2020 – and beyond. It has influenced my art. I’m more determined than ever to invite viewers to review their perception, their origins, their home and the world out there, which really isn’t that alien.

Covid-19 has slowed down my acting career, as the entire business has dropped off significantly, but I still audition for network TV. Some safe feature film productions are being made, but only a handful of major television series are being produced for the time being. Many of us are in active hibernation mode; writing new screenplays, pitching media projects and expecting this thing to turn around when scientific and medical officials say we’re ready to go!

Interestingly, even though some art shows I have had work in were postponed, others are still going strong and new ones are coming up. I’ve shown more work in 2020 than ever before. I’m sure you can agree that people truly need art. It’s healing, it’s provocative, and it has an important place in virtually all of our lives.

 www.stephenwozniakart.com

The post Meet the Los Angeles-based Conceptual Artist Stephen Wozniak appeared first on Artiholics.

My name is Gianfranco Meggiato, I was born in Venice in 1963 and am a sculptor of abstract works in bronze, aluminum, stainless steel and marble.

Please describe your journey to starting your life as an artist. How did you start your career and what brought you to start showing your works?

Since I was a child I felt a particular inclination for art, drawing, modeling, I studied for five years at the Istituto Statale of Venice, where I came into contact with different materials: wood, stone, clay, plaster, bronze.
Already at sixteen I participated in a collective exhibition in Piazza San Marco, at the Bevilacqua La Masa Foundation, organized by the municipality of Venice, where I presented my first work created at school: a perforated stone panel on both walls; it already contained the initial seed of my future plastic research.

What is the process behind the creation of your works?

Unlike many other sculptors, I never start from a drawing or from a project, but instinctively, directly, by modeling the wax directly by heating it in special stoves and then modeling it with the help of a heat gun and lavacrete.
It is a very long and complex job and a work is sometimes done over and over again until the satisfactory result is achieved.

What inspires your artworks?

Telling you what inspires my works is not easy, in the sense that my sculptures arrive a little on their own. It is not that when I start working in the morning I already know what I will do, but as I proceed, the idea born takes shape and develops.
As Joan Mirò said: “Images take shape while I work. In other words, instead of deciding to paint something, I start working and while I paint the image imposes itself or offers itself to my brush.”
Here in this definition of Mirò on making art I find myself very much there and in my opinion the artist is nothing more than an energy receptor which then manages to transform matter whatever their medium, plastic in my case.

Your sculptures are elegant and very powerful. Is there a specific meaning or message behind your Art?

On the general meaning of my artistic research I can say that I model my sculptures often inspired by the biomorphic fabric and the labyrinth that symbolize the tortuous and tormented path of man aimed at finding himself and his own precious inner sphere. In this context, space enters into all my works and emptiness becomes as important as fullness. 

Lately I have been increasingly attracted to the foundational concepts of quantum physics
One of the best known experiments in the field of quantum physics is that of the double slit (a variant of Young’s experiment) where the results change as the conditions of observation and execution change.
In essence, subatomic particles are fired through two slits and their behavior changes, changing their nature from beam to wave, depending on whether or not there is the presence of an observer assisting with the experiment.
A question then arises: what is the true nature of man if he is able to modify, with the mere presence of an observer, the behavior and nature of subatomic particles?
Here I think that contemporary art must be in line with its time, also having the courage to touch uncomfortable scientific themes.
Some of my latest works: Uomo Quantico, Respiro Quantico etc. refer precisely to a way of making art linked to these scientific theories where space and time would not exist but everything would happen at the same time and in the same space.
In creating the sculpture, I then proceed to perform separately, without an overall view, each single element that will constitute together with the others the final sculpture that will appear when all the elements are composed in the same space and at the same time.

In general mine is a plastic research that tries to touch current issues and inner research.

You exhibited all over the world, tell us about your experiences. Any favorite places? 

I must say that in my opinion, before being in museums, art must be among people and that is why in recent years I have given much space to monumental installations placed in squares or in particularly symbolic public places.
One of the installations that touched me most was: “La Spirale della Vita” made in Piazza Bologni in Palermo on the occasion of Manifesta 12, between June and September 2018.

The installation dedicated to the 878 innocent mafia victims, made in the shape of a spiral of twelve meters in diameter, made up of jute bags, culminated in the center with a vertical sculpture 4 meters high entitled: “Il Mio Pensiero Libero” because in the end only a free thought can free us from the spiral of death.

This installation was particularly felt and experienced by the Palermitans who came to see if the name of their relative or friend was among those imprinted in the jute bags; the Spiral of Life had then become a mausoleum to their dead.

When art interprets the common feeling of a people, remembering the fallen and at the same time giving a message of hope, I think it can be said that it has achieved one of its highest goals.

Tell us about your icomos-UNESCO award. What is it awarded for? When did you receive it? How did you feel? Was there any impact upon your career after receiving this award?

The Icomos-Unesco prize was awarded to me in Florence in October 2017 “for having masterfully combined the ancient and the contemporary in sculptural installations of great evocative power and aesthetic value.”
In June of that year at the International Sculpture Park of the Marca museum in Catanzaro I had created a circular installation of 20 meters in diameter consisting of 4 thousand jute bags with 8 monumental sculptures inside entitled: Il Giardino delle Muse Silenti.

These military jute bags were symbolically placed in defense of our values, of our culture, also given the repeated terrorist attacks that had occurred in that period: “Not soldiers behind the fortifications but sculptures: the Silent Muses, after having inspired the poetry the Muse defends it, the last bulwark against barbarism and death.” (Luca Beatrice)
This which had been my first large installation had immediately made me aware that this was my way.
I was thrilled by an art made of “social” installations to face the drama of the contemporary era and the Icomos-Unesco award received had made me understand that I was in the right direction.
At the end of the installation, the Marca museum has acquired and placed on permanent display in the international sculpture park, a work of mine 4 meters high: Il Mio Pensiero Libero.

How is the Covid-19 influencing your Art? What is the impact of the virus on you? How are you using the quarantine time?

In 2019 on the occasion of Matera European Capital of Culture I had created the largest contemporary art installation of the event.
An installation of 25 x 20 meters was made with more than 5 thousand bags colored with the 7 colors of peace, in the shape of the hand of Fatima, a symbol common to Jews, Muslims and Orthodox Christians.

The founding theme of the installation was: Everything is One, imprinted on the bags in the 30 most spoken languages in the world.

Well the year of Covid-19 made us understand how prophetic that phrase was.
We are all cells of the same organism and a body must remain united if it wants to defeat the virus.
In June of this year, the art magazine ArteIn dedicated the cover to my installation.

“Today“– writes Luciano Caprile for ArteIn –“we can open the drawers of the soul and take advantage of this difficult period as an opportunity for growth and enrichment. In this respect, the great hand of Gianfranco Meggiato, open to all humanity, makes us understand how truly everything is one (…) and how each person’s physical and spiritual salvation depends on safeguarding this conviction.”
Personally, I used the time of quarantine to model new works in view of the next exhibitions.

What are your plans for the future?

For the summer of 2021 I am planning a large exhibition with about twenty monumental works in the Valley of the Temples in Agrigento, one of the most visited archaeological sites in the world where great international sculptors, from Igor Mitoraj to Jan Fabre and many others, can be viewed.

The theme will be “Know Yourself” the famous inscription on the pediment of the temple of Apollo in Delphi.

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The human body has always been a fascination for many artists. It has been a source of inspiration, study, and analysis. If we could understand the body, we could probably comprehend the mystery that it embodies and develops the creativity that comes from that knowledge.

Mark Manders, an accomplished contemporary artist from the Netherlands, has always been interested in the human figure, especially the head which has been a significant element represented in his work throughout his career. Manders created an impressive art installation, a thirteen feet tall remarkable piece called Tilted Head, commissioned by the Public Art Fund and exhibit at the Doris C. Freedman Plaza in New York City. This large-scale sculpture that looks like an incomplete half-head made by clay but is actually of cast bronze, is one of the latest artworks that the city is displaying for locals and visitors, as part of their commitment to bring art into public places.

The massive sculpture appears to be a work still in progress or abandoned in a studio, a clear distinction of the labor that entails an installation of that magnitude. Tilted Head has its eyes closed, an expression of tranquility and the upper third of the face is cut. Other elements conforming the piece are wooden planks on the top, two chairs and a suitcase smaller than the installation can be seen in the back. All these components in different sizes have a purpose as stated in the Public Art Fund site “this shift in scale, unexplained objects, and trompe l’oeil bronze effect alter our perception and spark the imagination.”

As most of Manders’ work Tilted Head is his way to write with objects, a transition from his initial interest to be a writer in his younger years to a fascination with objects that evolved in the use of as a language of creativity and art. The result is a career filled with incredible sculptures and art pieces that speak to the public rather through the senses than through the written word. An invitation to the viewer to use their ingenuity and interpretations to formulate their own conclusions about his art.

Central Park as the backdrop of Tilted Head creates a clear contrast between the calm and simplicity of the sculpture against the color, the chaos and vibrancy of the park, making the scenery a compelling New York City spot and photo postal that visitors can experience.

Tilted Head is available for viewing until September 1st, 2019 at the Doris C. Freedman Plaza at the 60th street and Fifth Avenue, Central Park, New York City.

Written by Monica Herrera

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A selection of 7 artists from Yesterday and Today that are continuing to inspire the charm of the surreal.

2) Theodore Gericault
A forerunner of Romanticist painting in France, Theodore Gericault, was a typical romantic
artist, and the leader of the French realistic school. His most famous work, The Raft of the
Medusa, was a watershed moment in the history of modern art.

3) Hieronymus Bosch
Recognized as a highly imaginative “creator of devils”, Hieronymus Bosch was a European
painter of the late Middle Age. He is internationally recognized as an eccentric painter of
religious visions who dealt in particular with the torments of hell.

4) Salvador Dali

Salvador Dalí is among the most versatile and prolific artists of the 20th century and the most
famous Surrealist. Surrealism championed the unconscious as the primary motor of human
behavior, coupling this with an aspiration to political revolution. Though the concept of
Surrealism was new to him, Dalí was already well versed in the psychoanalytic theories of
Sigmund Freud.

5) Kazuki Takahashi
Kazuki Takahashi is an artist that started drawing manga comics in 1982. He created the manga
series Yu-Gi-Oh! In 1996, and quickly he has become a reference point for professionals and
lovers of fantasy design. The manga’s tagline reads, “A brand-new, ingenious game battle gives
rise to a new legend.”

6) Max Cui
Originally from Beijing, Max Cui is an illustrator painter and fashion designer based in New
York City. His feverish creativity allowed him to signal himself in the world of fashion and
design of the big apple

7) Hayao Miyazaki
Hayao Miyazaki is one of Japan’s greatest animation directors. His allusive works won both
critical and popular acclaim. “The creation of a single world comes from a huge number of
fragments and chaos.” Was his statement and his state of mind.

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“I am not the candidate of Black America, although I am black and proud, I am not the candidate of women’s movement of this country although am a woman and equally proud of that. I am the candidate of the people and my presence before you symbolizes a new era in American political history.” These were the words of Shirley Chisholm after she announced her interest in the presidential seat of the United States of America in 1972.

Shirley was an American politician, educator and author. She was the first black woman to run for Presidency and the first to be elected to the US congress in 1968. In 2015, Shirley was awarded the Presidential Medal of Freedom.

Campaigning for the Presidential seat and the Congress was not a bed of roses for Shirley, perhaps because gender had something to do with it. She actually said, “When I ran for Congress, when I ran for President, I met more discrimination as a woman than for being black.” She expressed her frustration about “black matriarch thing” saying, “Men think I am trying to take power from them.” In her opinion, the black man must step forward but that does not mean that the black woman must step back.

Shirley’s love for leadership and development run in her blood, she dared to be herself, she dared to lead in an era where women and people of her skin color could not be perceived as leaders. she was one of America’s greatest dreamers; she wanted to take the citizens of America to greater heights and she indeed left an unforgettable mark. She passed on in 2005 and will forever be remembered especially for her contribution to the politics of the United States of America. The world of art is also playing part in celebrating this legend and soon there will be a monument in Brooklyn’s Prospect Park to honor Shirley Chisholm.

The New York City’s Department of Cultural Affairs revealed five preliminary proposals for a new monument to honor Shirley Chisholm. The designs were conceived by the artists Firelei Baez, La Vaughn Belle, Tanda Francis, Mickalene Thomas and Amanda Williams and Olalekan Jeyifous.

The winning proposal will be selected through the city’s Percent for Art program in early April and will be commissioned as part of the She Built NYC initiative. Up to $1 million in funds will be available for the chosen project which will be presented to local community boards and submitted to the Public Design Commission later this year.

Firelei Baez proposed a sculpture of Chisholm; the sculpture is made of hand-painted metal columns. Depending on the view, the people would see one of three portraits, each reflecting different aspects of Chisholm’s career. The piece would stand between 10and 15 feet tall, and each image would include allusions to Afro-diasporic narratives.

La Vaughn Belle takes a famous quote by Chisholm as a point of departure: “If they don’t give you a seat at the table, bring a folding chair.” Belle proposed a sculpture of Chisholm holding a chair and stepping into a reinterpreted presidential seal on the ground.

Tanda Francis envisions a trail lined with quotes of Chisholm beginning at the Ocean Avenue entrance of Prospect Park. The path would lead to a large-scale bronze rendering of Chisholm’s face, surrounded by jets of water and light. Tanda described the ideas as “a colossal dedication which the people of New York City and the world will seek out and know of our commitment to honoring the women who helped build New York.”

Mickalene Thomas on the other hand imagines a human-scale sculpture of Chisholm seated at the top of a car. Benches surrounding the monument encourage engagement and interaction from visitors, and the nearby planters would contain plants that refer to the politician’s Caribbean heritage. In her proposal Thomas wrote, ‘Rather than portraying Shirley standing at a podium and speaking down to her audience, this model will instead show her rooted in the people’s space and speaking to their truths.” She added, “This is ultimately about the visibility of everyone in the community.”

Amanda Williams and Olalekan Jeyifous would entwine Chisholm’s silhouette with the outline of the dome of the U.S Capitol Building. Nodding to the layout of Congressional seating, an amphitheater-like shape would wrap around the monument.

Cultural affairs Commissioner Tom FinkePearl said in a statement, “We were thrilled to announce Shirley Chisholm as the first person honored and we’re excited to get a first look at what these artists are envisioning for this lasting testament to Chisholm’s achievements. We invite all New Yorkers to let us know what they think and help shape this landmark contribution to NYC’s public space.”

Brooklyn Borough President Eric Adams said, “Shirley Chisholm, a true daughter of Brooklyn, born of West Indian immigrants who settled in Bedford-Stuyvesant, was one of this nation’s greatest dreamers. A monument of this magnitude, dedicated to the first person in 192 years to embody the triple threat of being black, a woman and a representative of Congress, is most deserving of this lasting recognition. It is long overdue.”

The public can comment on the proposals at women.nyc through March 31.

Which proposal will get to take the center stage in NYC? Well, they all are deserving because at the end of the day they aim at celebrating Shirley for being a woman of great historic importance.

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Clio Art Fair is the main art fair in Manhattan for independent artists and five years down the line it continues to highlight and celebrate their achievements. Born from the vision of Founder and Director Alessandro Berni Clio’s idea is to celebrate and promote world-wide artists not have gallery representation in New York and help them realize their potential. Clio has since 2014 attracted and is still attracting artists from all walks of life and it runs twice per year; in March and October.

Clio is a unique platform of exhibition because it gives artists the ultimate freedom to use different types of material to create their work and they can deviate from the “accepted” art practice and definitions. Clio basically came into existence in order to challenge traditional art market methodologies.

In Greek mythology, Clio or Kleio, is the muse of history. The name is etymologically derived from the Greek root κλέω/κλείω meaning “to recount,” “to celebrate,” or “to make famous.” Clio Art Fair empowers artists by providing a platform where they can make their voices heard and also identify their creativity and inner potential. 

This March 2019 it took place the 8^th edition of Clio Art Fair. The art fair ran from March 7^th until March 10^th showcasing artists from all over the world. All under one roof, the four days incorporated different forms of art, talent from all over the world and it facilitated the dialogue between artists and collectors, artists and curators, and so on. There was a face behind every artwork and the art lovers got a chance to take home any piece of art that caught their eyes.

79 artists showcased their prowess and creativity to the world. They took it upon themselves to prove to the world that art is beautiful and brings people together and, of course, it sells.

This edition was unique because the fair’s curatorial board prepared a special section titled “I want to go home.” It is dedicated to the figure of the clandestine and the refugee, as well as contemplating the physical and mental boundaries that condition the geopolitics of our world. The special section includes works of Michelangelo Pistoletto, Alessandro Penso, Ali Anvari, Gilbert Salinas, Roberto Gutierres Curras, PonieO, and Laura Mega.

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Michael Heizer is a site-contemporary artist specializing in large scale and site-specific sculptures. He has re-defined sculpture in terms of size, mass, gesture and process. His idea for sculpture came to him in 1969 when he discovered a 120-ton boulder in the mountains adjacent to his property and thought it would be a great view for visitors passing underneath it.

Heizer planned to bore a long, sepulchral channel and place the boulder; this would allow the visitors to walk underneath it and have a view of the giant rock from its underside and give them an incredible encounter. The work was then to be titled, “Levitated Mass.” However the efforts to do so failed after the crane that was used to move the boulder broke its neck. Due to lack of funds for a larger and stronger crane, the efforts remained unfulfilled for over 40 years.

Since then, Heizer became prolific; he created a body of work that dealt with both scale and negative/positive relationships in countless ways. This is most-notable in his greatest and well-known work the “Double Negative (1969-1970). The work he created is an outdoor intervention that can be seen via satellite. In order to make it, Heizer cut two 50-foot deep lines into the earth, displacing some 240,000 tons of rock in the process. The sculpture is 1,500 feet long, which is a bit longer than the Empire State Building lain on its side.

Despite failing in his efforts to move the 120-ton boulder in 1969, Heizer still wanted to give it a try and this time round succeed if he got another chance. So long as there is an effort to try something, chances always come up and in 2007 Heizer was given yet another chance; he received a call from a Quarry outside of riverside, California. They had found a beautiful rock and they thought he would be interested in it.  The rock weighed 340 tons and was two-stories tall.

The call was a total excitement to him and he immediately called Michal Govan, the director of Los Angeles County Museum of Art (LACMA), to tell him he had found the most beautiful rock ever and he wanted to move it to L.A. Govan was aware of Heizer’s failed efforts of a boulder in 1969 and he wanted to make this one a success. With support from LACMA, the sculpture could move but there was one major problem, getting the 680,000 pound rock to Los Angeles.

The boulder would have to travel 105 miles; through 4 counties and 22 cities in order to move it from California to Los Angeles. It was a hectic journey, it needed to be well-laid out. Heizer and his team needed to come up with a plan considering the fact that the boulder was too cumbersome to navigate sharp turns, too tall for many overpasses, too heavy for steep inclines and most highways. Such a journey meant a lot of permits that would include: every turn of the route, every streetlight, traffic signal, wire, underpass and overpass. Many of the traffic light poles would also have to be removed then replaced and each pole would take up to two hours. The process of permitting delayed the installation of the work by roughly six months.

LACMA hired Emmert International, a company that specializes in moving extremely huge objects like nuclear generators and missiles. The company built a 294 foot-long, with 206-wheel trailer, it would use 6 trucks which will all pull and push simultaneously to ferry the rock to L.A.

The rock could only be moved at night so as not to cause traffic. It gathered a lot of attention; tens of thousands flocked to see it. A rock-themed festival was arranged in its honor and amazingly a marriage proposal was made with the rock as its backdrop. Residents of all zip codes along the route were granted free admission LACMA for a period of time after the installation was completed.

The rock sits permanent house now after travelling 11 nights designed to last 3,500 years according to Heizer. The rock is said to be roughly 150million years old. It rests on a 456 foot-long channel that just as the original blueprints dictated, viewers are encouraged to walk through so that they view the stone’s underbelly. The rock vibrates with history, it brings us back to the 1960s when Heizer’s first installation was conceived.

Heizer finally succeeded to give visitors an incredible view while walking underneath a rock; they can walk underneath a 680,000 pound stone unafraid of death.

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When someone influential or let’s say iconic passes on, what would be first thing you would do?  Directing this same question to ‘Pegasus’, he would probably say “I would drop everything”, but not just for any iconic figure, for an iconic figure he sees as ‘superhuman’. But for what particular reason would he ‘drop everything’?

Mural artist Pegasus, known for celebrity murals of the like Madonna, “dropped everything” when he heard the news of Lagerfeld’s death and instead headed immediately to his studio and designed an art piece, now painted on a wall – on – Great Eastern Street Shoreditch in London. He worked on the piece from Tuesday noon until 2am on Wednesday, then returned to the studio at 8 am to finish it up.

“When someone like that dies you have to drop everything and pay tribute to them.” Said Pegasus. “I know he’s quite a controversial figure but when I heard that he had passed, I was actually heading to Belfast and I just kind of dropped everything and ran to my studio.”

The mural which is a portrait of the designer, Karl Lagerfeld, is mostly black and white, and has a signature of one his famous lines “There is no beauty without strangeness”.

Born on September 1933, the German born designer, Lagerfeld was widely known and recognized for his signature look – of black sunglasses, fingerless gloves, high detachable collars and his white ponytail. He died from pancreatic cancer on February 19th 2019.

Lagerfeld who live in Paris, was not only a fashion designer, but also an artist, photographer and caricaturist. Up until his death, he was the creative director of the ‘French Fashion House Chanel’ since 1983. He was also the creative director of the ‘Italian fur and leather goods fashion house Fendi’, and his own Fashion label.

Artist Pegasus says the news of Lagerfeld’s death was a shock to him because he seemed like a superhuman figure just like Michael Jackson was.

 “There’s several people that have passed away and I’ve just been in total disbelief about, he said. “Michael Jackson was one of them because I thought I’d never see the day that he died, he didn’t even seem human, he was like superhuman and Karl Lagerfeld was also one of those types of people.”

He also pointed out that Pegasus was a trend setter, and that he loved his collections minus the fur collections. “I adored everything else apart from Lagerfeld’s fur collections. I thought he was a genius and just such an icon.”

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Desert X is a site-specific, contemporary art exhibition that is held in the Coachella Valley in Southern California. It came into existence with a different idea, a unique idea, of bringing together art and Southern California’s road trip tradition and turning the Coachella Valley into an open-air art gallery. Contrary to the modern day exhibition of artworks where you can find different types of artworks all under one roof, the Desert X exhibition is normally outdoors and takes place once every two years.

Although the Coachella Valley is a source of inspiration for artists seeking to create large-scale works that exist outside the typical gallery space, artists also have to consider the intense sun, extreme changes in temperature and violent winds experienced in the desert. It requires patience, cars, maps, GPS and the knowledge that you won’t see every piece of artwork in just one day.

The first edition of art biennial Desert X took place in 2017 from February 25-April 3oth and had works spread across the Coachella Valley. While putting together the exhibition, director Neville Wakefield and the curatorial team Amanda Hunt and Matthew Schum sought artists who were willing to engage with and respond to the specific history of the Coachella Valley and not just its beauty. The edition attracted more than 200,000 people including collectors, artists and museum groups. It showed works from artists such as Doug Aitken, Jennifer Bolande, Claudia Comte, Jeffrey Gibson and Glenn Kaino among many other recognized contemporary artists.

The highly anticipated 2^nd edition of Desert X touched down on February 9^th, 2019 and will run through to April 21^st 2019  with works from 18 artists selected by artistic director and co-curators. The show also includes a work of art “Shybot” by Norma Jeane which got lost during the first edition of Desert X and was found by a local maintenance worker. This edition is expected to be even bigger and better and for the second time it will again activate California’s desert landscape through site-specific installations by renowned international contemporary artists.

The artists participating in this year’s art festival include: Jenny Holzer, Mary Kelly, Ivan Argote and Sterling Ruby among many others. Jenny Holzer, known for her text-centric installations will present “Before I Became Afraid,” a piece addressing gin violence, with poetry projected on the mountain landscape. Mary Kelly will be showing “Peace is the only shelter” Ivan Argote will be presenting “A point of view” and Sterling Ruby will be showing “Specter.”

Visiting the Desert X is absolutely free and self-guided with maps of the artworks available at various locations and online. It is going to be so amazing to have double fun; go on a drive or walk and to have more than just a glimpse of different artworks and for the selfie-lovers, why not capture a moment or two?

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Any career or profession is just as important as the other, the point is that we do what we love and love what we do. Put our knowledge and skills to practice.

Personally, I have so much respect for ‘our men in uniform’, the police. The fact that they take risks for others’ sake cannot go unnoticed or unrecognized.  It is not just because it is their responsibility to guarantee us safety and security, but their dedication to it matters just as much. This field of profession just like any other has shortcomings. We could say, not every single officer is committed to their work but truth is a good number are. ‘You hit them up on their hotline number and boom! They show up for inspection on whatever it is.’

They face challenges as well, amongst them are the so many prank calls and raised-false-alarms, but, they say ‘police is your friend, so if you notice anything suspicious, do not fail to report’.

Now a recent incident of police officers forcing their way into a London Art Gallery took place right after they had received a report of a suspected corpse in the building. Cameras at the Factory Art Gallery in Dalston show the officers breaking through the glass door and then approaching a figure suspected to be a dead body just near a tied rope hanging from a ceiling. After quick inspection, they then discovered that the ‘corpse’ was actually a mannequin made out of paper and wires wrapped in clothes.

A police spokesperson confirmed that the officers and paramedics responded to the witness report of the suspected corpse at the gallery, “Officers and LAS attended the scene. Officers were required to force entry inside. Upon inspection, the person turned out to be a figurine constructed from clothing and wires and was part of an art installation.”

The camera footage shows the police officers’ arrival circa 7 am on Tuesday, and after a few attempts to force the glass door open, they opt to break their way in using a crowbar. One officer is seen approaching the said corpse and rummaging through it, leaving, then other officers and a paramedic are seen walking in it to check as well.

The involved mannequin belongs to 36 year old Kollier Din Bangura, and was as a matter of fact part of his exhibition on the experiences of refugees who settle in Britain. The artist says he has used the mannequin in other showcases before but was yet to have witnessed such an incident. “I have used the same dummy before in other shows but this is the first time it’s caused police to be called” said Bangura. “When I came to the studio and saw the smashed glass, I immediately thought it had been vandalised. But the police left a note behind explaining what happened.”

The handwritten note reads, “Police forced entry by smashing the window due to getting calls from members of the public regarding a dead body inside the building. If you have any issues please write to the Commissioner of the Metropolitan Police.”

Mr Bangura added, “It’s a mistake by a member of the public who has seen it through the window when they are walking past. Or it could even be a prank by someone who wants to sabotage my work. But fair play to the police, they broke in and if it was really someone wanting to hang themselves they gave themselves a chance at saving them.”

He however notes that there were posters on each door, indicating than art exhibition was taking place and regrets why they did not look at them and contact the owner of the building before breaking in.

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Every other day should be a day of showing love to those who matter in our lives. However, February is particularly the month of love. It is special to everyone all over the world, because love is a feeling that we all have experienced.

February is special because of Valentine’s Day; a romantic holiday set aside to celebrate love. It is everyone’s goal to make an extra effort to assure the special people in our lives how much they mean to us. Valentine’s Day is associated with flowers, chocolates, cakes, romantic messages and phone calls. A little gift to show some love doesn’t hurt too does it?

The shape of the heart is one of the most prevalent symbols in today’s culture, it is used as a symbol of love particularly on Valentine’s Day. We send millions of heart-shaped emojis to our significant others over the web and eat heart-shaped chocolates, pizzas and cakes too! Everything is just hearty.

Paris, is considered to be the most romantic city in the world; the city of love. It is home to exquisite hotels and restaurants, it is considered to be the best honeymoon destination, it houses beautiful gardens and candlelit bars. It is also home to the Eiffel tower which is one of the Seven Wonders of the World, considered to be a symbol of love and attracts millions of tourists. Valentine’s in Paris is definitely a goal right?  

This year’s Valentine’s Day in Paris was quite a unique one; art was incorporated to celebrate love and the heart symbol was used in a unique way, for everyone to see.

Joana Vasconcelos, although a Portuguese, had a love gift for Parisians, Coeur de Paris, meaning “Heart of Paris.” She created a revolving heart-shaped monument which was installed at the Porte de Clingancourt metro station and it became the highlight of the day. It was installed in order to invite Parisians to join and celebrate love. The installation was part of a distinctly less-than-romantic project- the extension the T3 tram line.

The heart-shaped sculpture of 4000 tiles was produced and painted manually at the 100-year old factory Viuva Lamego in Lisbon. It contained lights which turn on and off to the rhythm of a beating heart. The work was inaugurated by the Deputy Mayor of culture, Christophe Girard whose sentiments were, Paris will forever reign supreme in matters concerning love and romance.

Could it be that Paris permanently holds the title “city of love”, well I don’t know what your thoughts are on this but the installation of the heart-shaped sculpture is permanent. This is an assurance that when it comes to matters of the heart, then Paris is the doctor.

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While restoring the building the Joan Miró Foundation replaced 65 sculptures and canvases (original pieces) at risk of damage with exact replicas. Also a new entrance which guides visitors into the building has been created.

Miró’s Sert Studio focuses on Sert and Miró’s longstanding, long-distance friendship, which was not only inseparable from Miró‘s story but also the Joan Miró Foundation in Barcelona – also designed by Sert.

Artist Joan Miró i Ferrà was a Spanish painter, sculptor, and ceramicist. The museum Joan Miró Foundation (Fundació Joan Miró) was dedicated to the artist’s works. The Fundació Pilar i Joan Miró (Joan Miro Foundation) was established in Palma de Mallorca and another in his native city of Barcelona.

The Joan Miró Foundation in Mallorca comprises of a main building which exhibits about 6000 works by the artist including: paintings and sculptures, a sculpture garden, library, Miró’s Studio Sert and the Finca Son Boter. The foundation was created by Joan Miró and his wife Pilar Juncosa 1981.

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Cave creates a space of memorial by combining found historical objects with a contemporary dialogue on gun violence and death inflicted both by and within the black community. Large-scale installations include towers of welded magnifying glasses penetrating a sea of blackened hands, while wooden busts are encased within clusters of furniture indicative of colonial class structures. Cave magnifies the individuals behind what so frequently is deemed “black on black” crime, forcing viewers to reconcile disinterest in resolution with the myopic vantage point often taken towards Black America. Conceptually reminiscent of Jeremy Bentham’s Panopticon prison, Cave’s sculptures make clear that our society’s self-orientations serve a similar purpose of population control. JackSainman.com

If a tree falls

@ Jack Shainman

524 West 24th Street, New York, NY 10011

November 1st – December 22nd, 2018

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Clio Art Fair is a unique form of fair because it gives artists the freedom to use different types of material to create their work and they can deviate from the accepted art practice and definitions, unlike in the usual concerns in the art business where there are too many rules on how art should and should not be; after all art is about freedom to express yourself and your thoughts right?

To celebrate or to make famous are the terms that define the Greek word “Clio” and for the second time in 2018, the 7th edition of Clio Art Fair is going to do as per its meaning and norm; to celebrate and make famous works of already affirmed creative minds. The world of art will converge in New York City and this weekend will undoubtedly be an amazing one for artists and art lovers. The four spectacular days from 11th October- 14th October 2018 will be defined by dialogue between artists and collectors, artists and curators, positive energy, colors, and free public viewing. Art lovers will get to see different artworks not forgetting the faces behind them and there will be a chance to buy any piece of art that you will love from paintings, sculptures, digital art and more. Talent from all over the world will all be under one roof.

From October11-14, a group of 69 worldwide artists will be exhibiting their works, they will showcase their prowess and prove their creativity and originality as far as art is concerned. These creative minds will convince the world that art is beautiful, art is capable of bringing people together and that it is a career just like any other. The 7th edition of Clio Art Fair has the privilege to showcase thrilling works of artists such as Francesca Schwartz, Paulina Cerda, Amanda Armstrong, and Emiko Aida among many others.

Art is always up for grabs with every edition of Clio Art Fair and with its unique approach to art, it continues to highlight the achievements of artists. From upcoming artists to the well-known ones, all stand a chance to exhibit in New York. Clio Art Fair is home to creative artists sharing their expression of art to the world.

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“I’m interested in having the viewer think that they’re going to experience something maybe sensory or decadent, but then, through being attracted to the colors, to the smell, they discover that the work is about something else, something more profound, something darker,” Mayorga says. “In that same sense it’s also a metaphor to the illusion of the American dream, that America itself can seem to be something very decadent, luscious, promising to somebody coming from another country. But, you know, it can fall short of that.” Yvette Mayorga ChicagoReader.com

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Last Friday, an anonymous group announced their responsibility for spray-painting a monument of Sir John A. Macdonald, Canada’s First Prime Minister, in downtown Montreal’s Place du Canada.

The organization claiming responsibility for the action refers to itself as a group of “unnamed anti-colonial vandals.”

Despite the vandalism, Kingston Mayor Mark Gerretsen said the city would go ahead with an event later in the day to honour Canada’s first prime minister, who settled in Kingston after emigrating from Scotland in 1820.

“There is a bit of irony in this situation,” Gerretsen said. “It is because of someone like Sir John A. that people have the right to express themselves in the way that this individual or individuals or group chose to do so.”

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The work is part of an exhibition of  Sir Anish Kapoor’s sculptures and installations at the Serralves museum in Oporto, Portugal.

The story behind this work is well-documented and visitors were aware of the risk inherent in a large hole in the middle of a small room as they had to sign a “term of responsibility” before entering, and be accompanied by an assistant.The man was admitted to hospital with back injuries but has been discharged.

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Once we answer these questions, we definitely relate with the statue better and begin to appreciate it.

In most countries, statues that are put up are actually of people who had a certain impact upon society or the even the world as a whole and therefore by creating them, their legacy is passed on to different generations. For instance, the statue of Mahatma Gandhi in India was meant to spread the message of peace and bridge the gap between the rich and the poor.

Most of the statues we see around us have actually been in existence for a long time. However, the tables turned in New York City after a NYC Panel recently decided to take down a statue of J. Marion Sims, a 19^th Century gynecologist that had been put up from across the street from the New York Academy of Medicine and had been there since 1934. The statue will be moved to a cemetery in Brooklyn where the father of gynecology was buried.

The statue had been created with the aim of “praising” the brilliant achievement of Mr. Sims who had perfected the technique for repairing fistulas.

Mr. Marion Sims had a good intention of getting the treatment for vesicovaginal fistulas, which are basically holes between vagina and the bladder or rectum. However he experimented on enslaved women such as Lucy, Anarcha and Betsey among other women and he did so without using anesthesia.

This exposed the women to a lot of pain.

After perfecting the technique on black women, Sims would go on to use the same treatment on white women but this time he would use anesthesia.

Several questions come to mind, why did he not use anesthesia? Which people applauded his work? Why was his statue put up? Was it right to have his statue put up even after he subjected black women to so much pain? What message was depicted by the statue?

The taking down of the statue was supported by several people who felt that finally the right thing was being done because in as much as Mr. Sims was able to find treatment for fistulas, he subjected women to so much pain.  The statue will be moved to a cemetery in Brooklyn where the father of gynecology is buried.

Art work is highly appreciated and embraced especially that of statues because it portrays the talent and effort needed to put in to come up with the final piece. What artwork do they create? What impact do their works have on society? Is there anyone who ends up feeling offended by certain works produced by our most talented brains? If you are an artist then you should try answering some of these questions.

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So contemporary art is experiencing a moment of early maturity of the Creative Coding genre.

Creative coding means rewriting human relationships through codes. putting aesthetics, an emotional message before any functional activity.

The new artists, or those who decide to dedicate their lives to creativity ‘start in pole position compared to mature artists who have based their careers on pre-technological tools.

New York, as a catalyst for excellence, the cradle of avant-gardes, where every social phenomenon, not only happens before, but happens more clearly, has become the base where the artist Hyo-Jin Yoo works.

Despite the young age, Hyo-Jin Yoo is only 33 years old, Hyo Jin has fifteen years of specialization in the world of Creative Coding.

The artist in his career has already collaborated with museums such as the Ewha Natural History Museum in Seoul and the Ewha Womans University Museum.

The core of Hyo-Jin Yoo’s art is the simultaneous participation of the visitor who activates his works for aesthetic, emotional and social purposes before they are functional.

Although his Korean roots are undeniable and his basic Asian culture, his art questions world-wide subjects, attentive to society as a whole.

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