The installation will occupy a never-before-seen space of the museum and place viewers inside a larger-than-life fishtrap passageway among a fantastical undersea experience celebrating the power and beauty of one of the lynchpins of Florida’s aquatic ecosystem, the lowly mullet. Taking the form of an 8-foot tall zoetrope, an early form of animation technology, it features a repeating fish sequence that allows guests to get a fish-eye view of a bait ball—a phenomenon in which small fish swarm together forming a spherical shape—and transported to a new, underwater reality. Brady’s multimedia masterpiece blends 3D printing, light and motion, soundscapes and more to give the illusion of fish swimming alongside guests.

Fairgrounds St. Pete is no stranger to local art, boasting the work of more than 70 artists, most of them local, in its 15,000 square-foot space. “The Bait Ball,” though new to the iconic destination, has been showcased once before in Tampa Bay at Gasparilla Arts Festival in 2022. Now, the artwork has found a permanent home in one of the region’s most unique experiences.

“The introduction of ‘The Bait Ball’ to Fairgrounds St. Pete aligns with not only our uniquely Florida narrative, but our commitment to championing local artists and giving them a platform to share their work —especially installations as extraordinary as this,” said Liz Dimmitt, CEO and Co-Founder of Fairgrounds St. Pete. “Our team is beyond fortunate to have collaborated with Devon to give this work what we feel is its perfect home, and we can’t wait for our community and visitors to become as inspired by this experience as we are.”

The museum’s team takes a hands-on approach to collaborating with artists to incorporate cutting-edge, immersive technology that inspires and offers new ways to experience the arts, making it the natural place for “The Bait Ball” to land.

“This project presented me—and hopefully fellow creatives—with an opportunity to push the boundaries of STEAM by bringing in a mathematical practice,” said artist Devon Brady. “I could not be more thrilled to have ‘The Bait Ball’ take on its own exhibit in Fairgrounds St. Pete, giving the work a chance to reach its full potential and captivate guests in a whole new way.”

Since Fairgrounds St. Pete opened in 2021, the museum has experienced continuous growth, having added numerous installations including the “Electric Sky Lounge” and its latest showstopper, “Shrimpfinity by Milagros Collective,” with more on the horizon. The team plans to continue enhancing the space through immersive add-ons, seasonal activations and more while maintaining the exhibits that visitors know and love.

When Devon Brady isn’t running calls, the Florida fire captain can be found decompressing by tinkering with the latest projects in his art studio. The musician, sculptor—and yes, firefighter—finds creating art as rewarding as providing lifesaving care to those in need.

Now, Devon and the museum hope to introduce other heroes to the power of creativity as an outlet for boosting mental health, reducing stress, and inspiring joy. “The Bait Ball” is a permanent installation at Fairgrounds St. Pete, and guests do not need to purchase an additional ticket to experience the new exhibit.

_________________________________

About Fairgrounds St. Pete

Fairgrounds St. Pete is an art and technology museum created in collaboration with more than 70 artists, each with their own unique style and compelling stories. Designed for all ages and interests, the destination invites everyone to explore the intersection of creativity, technology, and culture in a captivating immersive world of playful exhibits celebrating original Florida stories. Visitors can gamify their experience by searching for clues to mysterious narratives, go on immersive scavenger hunts, or simply enjoy the exciting vistas of an artist made universe. This woman and veteran-owned local startup debuted in 2021 and continues to dream big and strives to change the world through creative shared experiences. Located at 2606 Fairfield Ave S. in the heart of St. Pete’s Warehouse Arts district, the museum is a ticketed, choose-your-own-experience attraction. For more information or to purchase tickets and merchandise, please visit www.fairgrounds.art and connect with us on Instagram, Facebook or TikTok.

Through May 31, 2024, all firefighters and EMTs can receive BOGO general admission using promo code FFBOGO24 when booking online or with valid ID at the ticketing desk. General admission tickets are available for purchase here.

_________________________________

About Devon Brady

Devon Brady is a Tampa native and graduate of the University of South Florida’s School of Art and Art History. Beginning his creative life as a drummer in Tampa’s 1980s punk scene, Devon is a skilled sculptor, designer, and fabricator, having built everything from houses to race cars and most things in between. In 2003, Devon became a Florida state-certified firefighter and paramedic. He is now a Company Fire Captain with Hillsborough County Fire Rescue where he has been for the last twenty years. As a founding member of Experimental Skeleton, LiveWork Studios and Crab Devil, Devon has remained engaged in creative production for most of his working life. Devon’s design work can be seen in restaurants, bars and breweries throughout the Tampa Bay area, and his permanent sculptural installations can be seen at The Music Box Village in New Orleans in addition to Fairgrounds St. Pete. Having worn the various hats of artist, musician, paramedic and firefighter, Devon is now focusing more on his own creative endeavors – producing a written chronicle of his fire service career while continuing to work on large-scale sculptural environments and functional design work. For more information on Devon Brady, please visit his website: https://www.devonbrady.com/

The post Fairgrounds St. Pete Expands with Exhibit, Gives “The Bait Ball” Permanent Home appeared first on Art Business News.

Project Antelope, a new online marketplace for Indigenous arts, has launched for the new year. In 2024, Native artists are making their mark, and Project Antelope is leading the way.

Created as a centralized, year-round alternative to regional Native art shows, Project Antelope.com promotes artists from North America as well as around the world, selling a curated collection of traditional and contemporary visual art, jewelry, music, fashion, and home goods. Both casual shoppers and high-end collectors can find treasures on the site, but what sets Project Antelope apart from many other marketplaces is that the artists define for themselves what Native art is, setting their own standards for genre, medium, and style.

“We love Indigenous art, and we all have different tastes, so the curation on Antelope isn’t necessarily what one might expect. We focus on the quality of materials and craftsmanship, whether for beaded earrings or a painting, or an electric guitar,” says cofounder Tailinh Agoyo.

After a soft launch during the summer, 50 new artists are in the process of getting their work on the site. Artists already making sales include Glenn Hill Jr., a Mohawk luthier, J. NiCole Hatfield (Comanche/Kiowa) who makes stunning beaded jewelry, Taino painter Priscilla Bell Lamberty, and jewelry maker Kristin Gentry (Choctaw Nation). There are dolls, ribbon skirts, pop-art posters, ledger art, portrait paintings, and more, including sheet music by contemporary composers like Pulitzer Prize finalist Leilehua Lanzilotti (Kanaka Maoli), who is offering her 2023 creation, “embryology of the heart,” for solo cello.

Project Antelope is opening the doors to more artists in the highly competitive Native art world. Summer Peters has made her way in this scene but says her career has often felt at the mercy of gatekeepers and “cool people.” Project Antelope is different, explains the Saginaw Ojibwe artist known for her beadwork and fashion. “The Project Antelope founders have believed in me from the first time I met them and provided me with opportunities to grow my business while raising my children.”

Dawn Spears (Choctaw/Narragansett) considers Project Antelope a place to try new things, like producing greeting card sets and posters from her paintings and getting her hand-illustrated tote bags to people who might not run into her at art shows. “Joining Project Antelope is like a stepping stone, to see what sells, and to push myself to learn a new side of the art business. It’s also this chance to kind of up your game, to put your best foot forward within this community of artists, and maybe even make content especially with Project Antelope customers in mind.”

Native art shows have been vital to collectors of Indigenous art for more than a century. But collectors aren’t the only people looking for Native goods, and in the internet era, limiting the bulk of sales to annual, regional events that require both vendors and buyers to show up in person is an outdated model. While Agoyo understands that Project Antelope isn’t a wholly new idea—many Native artists have put their work online—she and her business partners dreamed of a user-friendly, community-driven platform that can serve thousands of artists at once.

“It’s time for a radical shift in the Indigenous art world,” Agoyo says. “Native art is a billion-dollar business, but for too long, the value of our work has been determined by non-Natives, our traditional artforms routinely appropriated and cheapened, and most of our sales depend on a few large, annual markets. We’re shattering these outmoded constructs with a sophisticated online platform where customers can shop year-round—and trust that the art comes from the source.”

Agoyo is leveraging connections with and opening doors for people she’s met over a lifetime in the Native art world. She grew up in an artist family, spending many summers at her father’s artist booth at SWAIA Indian Market, where she later led the marketing department. She’s the founder and director of We Are the Seeds Philadelphia, a non-profit organization that supports East Coast Indigenous arts and culture. Project Antelope grew out of that work, coming to fruition a few years ago when she and Colleen Farwell, her former roommate from Dartmouth College, realized they were missing an opportunity to promote Native makers.

“It came largely out of frustration,” Farwell said about the idea to create Project Antelope. “We loved supporting Indigenous artists, but every time we found something online, it was already sold. Indigenous makers are selling fabulous art through their Instagram profiles, but what is missing is a centralized venue and real-time availability. To see everything at once, you have to get to a show, but not everyone can travel at the right time of year, and there are so many buyers who cannot alter their schedules to attend a show.”

Farwell works with Indigenous manufacturers and retailers as the founder and CEO of Black Canyon Distribution. She knew there had to be a better way and was willing to find the capital. “As I was talking to Tailinh about the possibility of creating an Indigenous website where there’s real inventory, she said another friend had approached her with the same idea, and we should just do it.” Beyond filling a much-needed niche in the Native arts world, Farwell was motivated to invest in Project Antelope because she wanted to support people in the way she was supported early in her career.

“So many artists have day jobs and families, and they don’t have time to maintain a website. Or there are Elders who live in rural areas who don’t know how to navigate the technology. We can make it easy for them to sell their work,” Farwell says.

With Project Antelope poised for rapid growth, the team has added staff: Taikwan Wright as head of product, and Xiao Hui Star Chin supporting strategic operations. Wright and Chin bring decades of experience in back-end development, project management, and operations experience, working with multidisciplinary teams of creatives, strategists, and technologists.

Soon, Agoyo says, Project Antelope artists will be able to connect and collaborate with each other, and take advantage of other expanded opportunities. “It’s not just getting on the site and selling your work. Each artist receives individual, customized attention. This is about partnerships, about creating generational wealth, about Indigenous artists from around the world tapping into the global marketplace.”

___________________________

Author bio:

Jennifer Levin is an arts and culture writer living in Santa Fe, New Mexico. She wrote for Pasatiempo Magazine at the Santa Fe New New Mexican for many years, and now writes for several publications and non-profit organizations. She is working on a memoir, All the Girls in Their Cages, about generational trauma and chronic illness.

To learn more about Project Antelope, please visit https://projectantelope.com/

The post Project Antelope is a Bold New Era in Native Arts appeared first on Art Business News.

HISTORICAL PERSPECTIVE

Through the annals of time, artists have been the heralds of their epochs. From the majestic strokes of Renaissance masters to the avant-garde expressions of contemporary creators, the artist’s journey mirrors the tides of societal change and the revolutions of culture. They encapsulate history within their creations, etching the soul of each era into the canvas of time.

SOCIAL COMMENTARY

Art, a poignant mirror reflecting society’s collective consciousness, speaks in diverse languages. Whether manifested in brushstrokes on canvas or woven into the lyrics of a song, artists capture the nuanced essence of their time. Their creations serve as a resonant commentary, inviting audiences to engage with the pulse of the present.

CULTURAL IMPACT

Art’s influence on culture is transformative, shaping identities and challenging established norms. Artists, as cultural architects, contribute to a perpetual narrative, fostering a shared experience that transcends borders. The tapestry they weave becomes an integral part of our collective history, evolving with each stroke of creative expression.

ART AS ACTIVISM

In an era marked by social and political upheaval, artists assume the mantle of change catalysts. Through the powerful mediums of visual storytelling, music, and performance, they transcend mere artistic expression. Instead, they become advocates, sparking crucial conversations, and challenging the stagnancy of the status quo, infusing art with a sense of purpose.

CHALLENGES FACED BY ARTISTS

Within the realm of artistic pursuit lie formidable challenges. Artists grapple with societal expectations, navigating the labyrinth of commercial pressures, and wrestling with the perpetual struggle for recognition. These hurdles, though daunting, become the crucible in which authenticity is forged, defining the artist’s unique journey.

EVOLVING ROLES

As society undergoes metamorphosis, so does the artist’s role. No longer mere observers, artists have become active participants in shaping conversations. They wield their creativity as a transformative force, influencing societal norms in real-time and contributing to the dynamic evolution of cultural landscapes.

ART AND EMPATHY

At the heart of art lies an extraordinary power—the ability to foster empathy. Artists, through their creations, forge connections that transcend boundaries. By inviting audiences to step into the shoes of others, they enable a profound understanding of diverse perspectives, enriching the human experience.

THE ARTIST’S RESPONSIBILITY

The delicate dance between creativity and social responsibility defines the artist’s ethical compass. They grapple with the profound implications of their work, navigating the fine line between personal expression and the potential impact on a broader audience. In this delicate balance, the artist shoulders a responsibility to inspire, challenge, and provoke thoughtful reflection.

ART IN EDUCATION

Recognizing the transformative potential of creativity, the integration of art into education becomes imperative. Fostering the next generation of artists and nurturing creative thinking contributes to a society that is not only culturally enriched but also innovative and adaptive.

ECONOMIC IMPACT

Beyond its cultural contributions, the arts wield tangible economic influence. Artists contribute significantly to the economy through exhibitions, performances, and the creation of intellectual property. This underscores the intrinsic value of their work, both as a cultural force and an economic driver.

DIVERSITY IN ART

The call for diversity in the art world is a call for richness and inclusivity. Embracing artists from diverse backgrounds, perspectives, and cultures enhances the tapestry of artistic expression. This inclusivity fosters a more representative and vibrant artistic community, reflecting the true diversity of the human experience.

TECHNOLOGY AND THE ARTS

In the digital age, technology becomes an ally in artistic expression. From digital art that pushes the boundaries of creativity to virtual performances that transcend physical limitations, technology opens new vistas. It expands the reach and accessibility of art, democratizing creative expression on a global scale.

ART’S HEALING POWER

Beyond aesthetics, art possesses a therapeutic quality. In times of hardship, creative expression becomes a poignant tool for healing. Whether through painting, music, or other mediums, individuals find solace, navigating complex emotions and discovering catharsis through their artistic endeavors.

CONCLUSION

In conclusion, the artist’s role in society is a kaleidoscope of historical reflection, social commentary, cultural influence, activism, and a profound responsibility to foster empathy. As we celebrate the diversity of artistic expression, we recognize the pivotal role artists play in shaping our collective narrative, enriching our understanding of the human experience.

___________________________

Author’s bio:

Emma Rebell is a professional essay writer and author. She started writing at a young age and now takes pleasure in every moment, showcasing her perfect essay writing skills.

The post What is the Artist’s Role in Society? appeared first on Art Business News.

James Baldwin, whose lived experience was sitting at the intersection of both American anti-Black racism during the civil rights era and anti-LGBT fervor had perhaps a more poignant addition to the “life imitates art” discussion going on over the past 2,000 years of intellectual dialectic. James Baldwin said, “Life is more important than art; that’s what makes art important.” When cultural spaces, art galleries, and other curators of artistic tradition fail to see this simple truth—that life supersedes art—they will fall prey to the white supremacist traditionalism that turns Black suffering into an exhibit.

The biggest mistake white curators and gallerists can make is to ignore Black voices or egregiously sidestep Black involvement while promoting Black art. This unsurprisingly is a common practice among well-respected galleries and art spaces.

CASE STUDY: THE WHITNEY MUSEUM

The Whitney Museum in NYC sidestepped and undercut Black artists to create an exhibit highlighting responses to the BLM movement and the COVID pandemic in 2020. The museum experienced severe pushback and calls to cancel the show via social media when the featured Black artists found out that their work was acquired without their knowledge at a discount.

The Whitney Museum reached out to the featured artists, informing them that their work had been acquired and that they would receive lifetime passes to the museum as compensation. The museum had announced the exhibit, titled Collective Actions: Artist Interventions in a Time of Change, before informing the artists and acquiring consent.

Not only was this move a blatant attempt by the Whitney Museum to cash in on a profoundly crucial social movement to demand respect for Black lives in response to systemic racism in the US, but the Black people behind the artworks were left out of the conversation entirely. Treated as an afterthought, they were denied agency by a powerful, mostly white institution.

This is not how galleries and art museums support anti-racism. This behavior commodifies Black suffering and further entrenches anti-Black racism by exploiting Black artists to appear progressive. Luckily the Whitney Museum canceled the exhibit.

HOW CAN MUSEUMS AND ART GALLERIES DO BETTER?

There are several ways museums and art galleries can actually help fight anti-black racism in the United States. Most of the changes have to start within the institutions themselves.

THE RACIAL MAKE-UP OF MUSEUM TRUSTEES NEEDS TO BE MORE DIVERSE

In 2017, the American Alliance of Museums (AAM) surveyed its members and found that nearly half of the museum boards in their association, which totals 850 institutions across the US, were entirely white. Museum boards with a more diverse make-up were still vastly skewed toward whiteness.

This shocking case of self-reporting by the AAM was an important inflection point for museum boards to take action and incorporate diversity into their ranks. Some have made progress diversifying their boards, but more progress is needed.

WHO GETS TO TELL THE STORY?

Museum donors and trustees strongly influence not only the types of exhibitions featured in their museums but also the narrative behind the artworks and, consequently, the narratives behind the artists.

Art curation is more than simply hanging paintings on a wall—it is meant to tell a story. When the writers of that story are mostly white, museums end up creating and recreating the Whitney Museum disaster.

THE RACIAL MAKE-UP OF MUSEUM STAFF NEEDS TO BE MORE DIVERSE (ACROSS ALL ROLES)

A 2015 study found that the racial make-up of museum employees was more homogenous than the actual demographics of the US, which at the time were 62% white and 38% non-white. On average, 76% of museum staff were white, and only 24% were people of color.

Then, in a follow-up study three years later, the numbers had improved slightly—72% of museum staff across the US were white, and 28% were people of color.

However, these improvements were unevenly distributed across various roles in museums. Most of the changes happened in curational and educational departments, but museum leadership roles were still mostly non-Hispanic white. 85% of the Association of Art Museum Directors (AAMD) directors were white as of 2021.

This shows that prominent and highly influential museums are slow to change in any meaningful way at an institutional level. Hiring diversity chiefs and thinking that the issues are resolved reveal either a genuine lack of understanding on behalf of museum boards or a disgraceful disingenuousness and lack of desire to grow into more equitable institutions.

FIND AND SUPPORT LOCAL ART GALLERIES, ARTISTS, CULTURAL CENTERS, AND SPACES THAT MORE ACCURATELY REFLECT AMERICA

Meaningful change is not easy. America unequivocally has an ongoing racism problem. This article focused primarily on anti-Black racism, but there are many heads on this historically omnipresent monster.

This problem is deeply woven into social, political, and cultural institutions. The art world and the powerful elites that direct its gaze is not immune to implicit and explicit racism just because their Twitter feed is full of upraised, Black fists.

Meaningful change starts with each individual examining honestly their relationship to white supremacy and their potential complicity in it. Then, after reflection, individuals must look outside themselves to examine how they can positively impact their immediate worlds—whether that world is a small art gallery or the MOMA.

About the Author: Roni Davis is a writer, amateur art enthusiast, and legal assistant operating out of the greater Philadelphia area. She writes for FNRP, a commercial real estate investment firm.

The post Intentional Anti-Racism Moves for Art Spaces and Galleries to Embrace and Deploy appeared first on Art Business News.

You can walk into the atelier at any (almost) moment and watch the artists at work. The house at 59 Rivoli is open to the public 7 days a week, 24 hours a day-an extremely rare occurrence in Paris! And it’s absolutely free, and you can take lots of unusual Parisian photos here.

The artists will be very happy if you buy something from them — a painting, a sculpture, a piece of work, or leave some money in the common piggy bank.

Other centers of contemporary art in the French capital are near the Pompidou Center. And there, it’s definitely art. Sometimes there are also exhibitions of graffiti artists in private galleries. For example, in 2019-2020, Espace Lafayette-Drouot exhibited a collection of reproductions by Banksy.
But today we have prepared for you a whole amazing walk through the streets of Paris to get you closer to its street art.

Walks in Paris

We offer an itinerary in Paris, during which you can discover a city unfamiliar to most people — the “people’s” Paris with its street art.

The route passes through 4 districts — the 10th, 11th, 19th, and 20th — and is designed for 3.5 hours.
The 19th and 20th arrondissements are the birthplace of Parisian street art. Its various forms (mosaics, graffiti, stencils, murals…) can be found on every corner. If you do not have much time, you can confine yourself to the Seine quays (between Quai de l’Oise and Quai Valmy) or the quarters of Belleville and Buttes Chaumont.
Either way, this unusual walk through the former working-class neighborhoods will be a unique opportunity to appreciate street art.

STEP 1: THE CORENTIN CARIOU SUBWAY

We will start at the intersection of the Gironde and Oise quays, next to the Corentin Cariou metro station (line 7). To get to the embankment, from the subway you need to walk along Rue Rouvet. Passing the Promenade Ouaz, you will see walls with graffiti. The supports of bridges often serve as material for street artists. Graffiti and stenciling decorate the walls along the waterfront. If you walk along the waterfront on a Thursday or Sunday morning, you can experience the Joinville Market at the intersection of Joinville and Jomard streets. The market is open Thursdays and Sundays from 7a.m. to 2:30 p.m.

STEP 2: QUAI DE SEINE

There isn’t much street art from the Seine Quai to Place de la Rotonde, but you can see the many ships and barges moored to the shore. This neighborhood was redeveloped in the late ’90s and has become more welcoming and dynamic. In the summer beaches along the promenade are laid out. MK2 cinemas are located on both banks.

STEP 3: QUAI VALMY

Take a walk along the Saint Martin canal toward the Parc de la Villette. This is already the 19th arrondissement, a disadvantaged and cheap place to live in Paris. During your walk, you are sure to see graffiti. Unfortunately (or fortunately!), this neighborhood is now being rebuilt, with old housing being torn down to build new buildings. The graffiti is disappearing with them.
The start of the Valmy promenade at the corner of La Rue Lafayette marks the return of street art to Le Canal Saint Martin. Le Point éphémère and le Café éphémère have contributed greatly to the development of street art on this part of the canal. The high wall at the beginning of the Valmy promenade is worth a look – a mural by Goldorak in stencil technique. Goldorak is a famous robot from the pop manga of the 1980s.
The walls near the Ephemeral Café are all decorated with street art of various styles and forms. On the Quai de Jemmapes (on the other side of the canal), you’ll see Spaces Invaders icons, some in unexpected places, like the walls of public toilets. On the other side of the waterfront is one of the last remaining industrial buildings, the Clairefontaine-Egzacont factory. A little further on, don’t forget to stop in front of the famous wall adorned with graffiti.

STEP 4: LE FAUBOURG DU TEMPLE

Take the Rue du Faubourg du Temple up to the Belleville Metro station. For the shopping lovers, the boutiques in this street are also open on Sundays. Stroll the streets hidden in the depths, away from the tourist routes, and uncover the gems of contemporary art. In front of the entrance to the Cour de Bretagne you’ll see several frescoes, collages and graffiti. Walk in front of the Palais de Glaces, the famous Parisian theater where comedies are played every night. Continue along Rue du Faubourg du Temple to the famous Chinese restaurant Le Président, frequented by Presidents François Mitterrand and Jacques Chirac. This is the starting point of the Belleville Cosmopolitan district.

STEP 5: RUE DENOYEZ

Then walk up Rue Belleville to café Les folies and visit Rue Denoyez, the street of Parisian street art. This is the symbol of street art: the walls here are completely painted with graffiti and trafferet. Street artists are constantly bringing something new and remaking the old in the works on the walls of Rue Denoieu. There are also numerous art galleries located here.
After looking at the works on Denoieu and Lemon Street, return to Rue Belleville and walk to the intersection with Rue Julien Lacroix. Here you will see a large mural of a detective and a wall showing a worker in the process of painting a wall.

STEP 6 (LAST): LES BUTTES CHAUMONT

Go further down Rue Belleville and turn to Rue Rebeval, then to Rue de l’Equerre. Near the steps, you will see an icon of a space invader and a collage. Go up the steps of the street and turn left on Avenue Simon Bolivar (l’avenue Simon Bolivar), reach the park of Butte Chaumont.
In the park, along L’avenue Jacques de Liniers, you’ll climb to the top of the Butte Chaumont and see a magnificent view of Paris and the Basilica of the Sacré Coeur.
On your way back, take the circular road du Lac to l’avenue de la Grotte, continue on l’avenue JC Cave. Near the middle of this avenue, you will find old railroad tracks, known as the “mysterious way”. Along these abandoned tracks you can see a lot of graffiti.

CONCLUSION

We should not forget that Paris is not just a city of aristocrats. It is also the city of artists, writers, and other bohemians. A century ago, Picasso and Modigliani paid for their paintings to hang in cafes, and now their works hang in museums. Perhaps today’s artists will also find recognition at the next turn of the century.

Author’s bio: Jean Hartley is a professional content writer for CustomWriting service. She will help you to prepare an overview, report, essay, or another paper. Jean will make you amazed with the final interesting content or any other you may have for writing.

The post Street Art in Paris appeared first on Art Business News.

Since it began in 2018, Victory Art has hosted more than 1300 artworks from over 80 artists on their website, plus showcased three exhibitions in Rotterdam, Amsterdam, and The Hague in 2019.

One of the exhibitions, hosted by Victory Art at the World Trade Center in The Hague, managed to leave all guests speechless. Everyone was enthusiastic about the artworks from the artists at the Maják Institution and the program Victory Art presented. Among the guests were the Slovak Ambassador and members of the Slovak Embassy. The event was a great success and the artists and their story piqued the interest of many in attendance, including the Head of the Dutch Senate.

Maják is a Slovakian non-profit residency that for the past 15 years has tended to individuals with deafblindness. They conduct art workshops for their residents to support their creativity while helping them overcome their disabilities. These artists, despite their limitations, demonstrate how conquering life’s hardships can result in impressive and gorgeous artworks.

Because of the great interest in the institution, the CEO of Victory Art flew to Slovakia to get to know Maják, and together they decided on a collaboration. Not long after the collaboration, they held an exhibition at the ABN AMRO Bank headquarters, supported by ABN AMRO, the Dutch Senate, and the Embassy of the Slovak Republic.

On November 20, 2019, Victory Art organized a special vernissage “TOUCH: Deafblind artists of MAJÁK” presenting the artworks of the artists of Maják. The opening was attended by artists, critics, historians, and members of the press. One of the highlights of the event was the donations for Maják’s programs Victory Art was able to collect. Therefore, thanks are due to Holland Park Media and all the participants of the exhibition for the success of the exhibition and the donations to support Maják.

While admiring the artworks, everyone kept wondering how the artists could create such art despite their impairments. To answer some questions, Richard Bennaars, artistic director of Galerie Atelier Herenplaats, Ariane Mellink, art consultant at AM Art Management, and Viktória Pikovská, founder of Victory Art, sat down with Arthur Van De Graaf, founder of Getting a Crowd, to discuss Outsider Art. Here is a portion of their conversation:

Arthur: “Why do you want to want to make art more accessible for these artists?”

Vikoria: “Because I truly believe that they deserve our attention and admiration. What they create is actually the purest form of art. Many artists are creating artwork to be truly free and to create art about how they feel. Despite their disadvantages, the artists at Majàk are still able to achieve something that others strive to achieve their whole life.

Arthur: “If we look at this from the other side, can we use the advantages of the people from Majàk to make the artworld more accessible for people who are not connected to the art world yet — such as younger people or people who are not yet engaged in art”

Viktoria: “Definitely. According to the research we do at Victory Art, we see that millennials are more focused on diversity and inclusion and bringing real impact to society. I think that by supporting and allowing the Maják artists and others to be an amazing part of our society, it fosters acceptance and inclusion.”

THE ARTISTS AT MAJÁK

Among the artists whose works of art were presented at the art exhibition in Amsterdam are Kristína Fašungová, Peter Hruška, Juraj Baláž, and Martin Kovalík.

Kristina moved to Maják at the age of 33 and settled in immediately. She is an expressive resident who can communicate with others using a variety of symbols. Easily straying from her emotions during art therapy sessions, she finds both peace and an aesthetic stimulation in the reflections and texture of the canvas. A radical painter, she paints with her whole body. From the colors on her whole body, she feels the stimulation that surrounds her.

For Peter, Maják is a place that he considers his home. He is a rather reserved resident and plans his daily routine almost exclusively around his paintings. Peter is enthusiastic about his art therapy sessions and enjoys other activities such as walking in galleries and visiting nature. Even though he has a visual and hearing impairment, he is endowed with a good memory enabling him to memorize his experiences through an imaginative perception of the outside world that comes out in his artwork.

Juraj describes himself as a self-confident resident, but rather a loner. His poor eyesight prevented him from learning to paint for a long time, but when he came to Mayak Juraj finally found a place where he could be complete with himself, relax and reflect in peace. Although he sometimes exudes an explosive and stubborn nature, he is a very caring and protective person who often helps others run, play and eat. His caring and confident personality is equally expressed in his spiritual canvases.

Martin came to Maják with hearing and vision impairments, which means that he can only hear white noise and has blurry vision. This made non-verbal communication much more difficult for him. In addition, he can move neither his hands nor his knees properly, which makes it difficult for him to perform daily activities independently. Despite this, Martin maintains a sense of humor that always amuses his classmates and caregivers.

VICTORY ART MISSION

Those who claim that creating art is easy, perhaps have not looked deeply into it. The most honest kind of art requires not only technical skills, but also heart and introspection. The thing that inspires and guides Maják’s artists is not the idea that the artwork must “look good.” They focus on putting their happiness as well as their pain, and everything possible, on canvas. Therefore, Victory Art has made it its mission to make art accessible to everyone and to show people how important art is to the human experience.

About Victory Art

Intending to change outdated stereotypes and build new perceptions, Viktória Pikovská set out to build a platform capable of promoting and managing talents who truly deserve respect and spotlight. She founded Victory Art in 2018. By tailoring the company to the world’s fast-paced development, Victory Art makes it trustworthy, flexible, affordable, and possible for every corner of the world to access and discover artists from Central and Eastern Europe, a region that hosts many misunderstood and underrepresented voices and talents

The post Beyond Art At Victory Art appeared first on Art Business News.

The creation of a place cultivated by works of art cannot be replicated on a screen. Rather it must be felt, experienced, explored.

Public art is essential for placemaking because it manifests within the very places we inhabit – alleyways, walls, parking structures, parks, and the public way. Art and culture create the heartbeat of the streets. Communities and businesses alike benefit from enhanced social cohesion, improved health and economic outcomes, and the creative energy and aesthetic of a place enhanced by arts and culture.

To entice people back into a routine of work and play outside of the home, we must fill places with color, soul, and emotion. We must create unique opportunities to encounter life.

Here are three ways placemaking can create space that calls people back to shared spaces in our communities.

Create Social Cohesion and a Sense of Community Through Art

The creation of art should be consistent and dynamic. Businesses can play a role by investing in a continual practice of cultivating art and attracting diverse local talent. Local artists’ muse is often their surroundings — the positives and the negatives of the local community, what attracted them, why they’ve stayed, and the influence of everyday life. Their art is the link between the neighborhood’s past and its future. This kind of living experience connects people with the culture and vibe of the community in which they live.

The Blue Trees project does just this for the Denver Theatre District. The project, which covers over 16 city blocks, places civic engagement at the forefront of the community. The project includes 156 blue trees (colored with environmentally safe, non-toxic, natural blue pigment), which bring awareness not only to global deforestation, but also the importance of trees to human life and their environment.

Not only did the Blue Trees project showcase a unique piece of art, it also involved dozens of free, family-friendly events designed to connect the community and the cause.

Cultural Placemaking is a Powerful Tool for Renewal

Utilizing art and culture can reinforce the foundation of our communities. It shows the story of our lives, connects us to the past and is an example that, despite having gone through a pivotal experience like a global pandemic, we can endure and thrive.

Take Denver Water’s headquarters for instance. Through the use of art, the organization was able to share their mission, goals and the work they do. One piece, created by local artist Rik Sargent, entitled “Forests to Faucets” tells the story of how Denver’s water flows through the mountains and into the city’s faucets. To create the piece, Sargent involved different members of Denver Water’s organization to add to the clay model, literally crafting the story through the eyes of the employees.

The integration of this particular work, and other pieces into Denver Water’s new campus not only showed the importance of the work the organization does, but also the creation of a public presence for Denver Water’s rich history and a source of attraction and retention for employees.

Another example of art benefitting the community’s well-being is the Happy City project, which was in the Denver Theatre District. For six weeks, several artists collaborated on installations that encouraged Denver residents to acknowledge and dismantle barriers to mental health and encourage the stronger collective. Programming in streets and alleyways, on billboards and video screens, promoted mental health awareness and citywide wellness through interesting urban design.

Creative Placemaking Through Art Supports The Triple Bottom Line

A recent study by the Urban Land Institute found that the impact of creative placemaking supports the triple bottom line: financial, social and environmental profit.

In fact, Americans for the Arts found the vast majority of Americans — over 90% — believe arts and culture improve quality of life. Over 80% believe arts and culture is essential to the economy and local businesses.

Leveraging arts and culture in conjunction with quality design just makes good business sense. In fact, developers and their partners have reported higher market values, lower turnover rates, faster approval cycles, greater community buy-in, and better brand and market recognition because of the use of public art.

Building with arts and culture in mind, or incorporating them into your existing space, can attract and delight visitors, residents, and employees. Creating a place improves livability and quality of life for the community. It allows us to begin to experience the world again and move forward.

Bio:

As CEO and co-founder of NINE dot ARTS, Martha Weidmann oversees all business operations and works directly with our clients and partners. Martha graduated from Colorado State University with a dual major – Communications and Fine Arts. She started her career with Walker Fine Art gallery in Denver, then moved on to the most prestigious art consulting firm (at the time) in the region, McGrath and Braun, from which NINE dot ARTS was born. Martha loves the business of art and finds tremendous satisfaction in helping new and emerging artists discover that you can actually get paid for your talent. She spends her day balancing between touring an amazing new NINE dot ARTS art experience in the morning and reviewing equally inspiring spreadsheets in the afternoon. Martha supports the art community by currently serving on the Board of the Colorado Business Committee for the Arts.

About NINE dot ARTS

NINE dot ARTS is a nationally recognized, award-winning art consulting and curating firm with 825 installations across 35 states and 5 countries. From hotels, multifamily and office properties to large-scale, mixed use developments and dynamic public art installations, NINE dot ARTS transforms ordinary places into one-of-a-kind experiences. For additional information on NINE dot ARTS, visit ninedotarts.com.

The post The Importance of Placemaking: Public Art’s Role in Returning Communities in Work and Play appeared first on Art Business News.

So if you are looking into art colleges or want to know more about expected salaries and possible career paths, this guide might be quite helpful. Here are the most profitable art majors, from lowest to highest, that also offer professional development opportunities. All the data on payment rates and employment outlook is from the U.S. Bureau of Labor Statistics (BLS).

Graphic Design

This creative field has great earning potential. According to U.S. BLS, the average salary for a graphic designer is $53,380 per year. The range is from $31,720 to $93,440. About 24% of professionals in this sphere are self-employed. It is a more flexible job, so one can work distantly or in the office, on individual projects, or on a permanent basis.

The associated education program allows for a combination of technology and art to create powerful imagery. The only downside is that there is a job outlook decline in this field by -4%, so there will be higher competition in the labor market right now. But it can also change in the future as the number of technology-related occupations is growing.

Interior Design

If you want to create comfortable yet beautiful living spaces, this is a valid opportunity. Interior designer programs are available in many schools and colleges and offer a powerful set of skills. And this major is more affordable than many other art-related degrees.

Usually, an interior designer gets $57,060 annually, with the range from $33,020 to $97,920.

Such a position requires not only artistic vision and understanding of fundamental architecture and color concepts, but it also demands strong communication skills to gather and analyze the client’s expectations and needs. But it is emotionally fulfilling to see designs come to life.

Music

Music is another exciting opportunity to pursue. One can learn to play instruments, write songs and melodies, teach others, or make a solo performing career. For one of the most popular positions in this major, secondary or high-school music teacher, the employment rate is 98.1%. So, it is safe to say that there is decent job security. And the job opportunities grow 4% a year, which is the same as the majority of other spheres.

As a high-school music teacher, one can earn $62,870 per year ($41,330-$102,130). Those who work as music directors and composers earn about $52,250 yearly ($23,820-124,390). Musicians and singers have irregular working hours, but the rate is about $31.40 per hour.

So, whether you want to be a solo performer, teacher, or composer, music is a valid major to choose.

Drawing Studies

This section concerns students that will graduate to become fine artists, craft artists, painters, illustrators, and sculptors. It is one of the classic career choices for creatives. One of the benefits of this sphere is that it is very flexible – one can be a self-employed creator, work for a company, or become a teacher.

According to the U.S. BLS, the average annual payment for craft artists is $49,120 ($22,000 – 112,930). Painters, sculptors, and illustrators earn $52,340 per year ($19,570 – $122,900). High school teachers in this sphere have the same rate as music teachers – $62,870.

Cinematography and Video Production

In this program, students learn film and video production, methods of capturing stories, camera work, etc. It is a versatile field as one can work in many industries, from motion picture production to advertising and marketing.

Film and video editors earn about $67,250 annually. Camera operators for film and television get $57,200 per year.

The job outlook for both of these careers is great – it grows by 18% a year, which is much higher than the average 4%. The top-paying industries are, of course, performing arts and motion pictures. Overall, it is a dashing career choice for those who love cinematography.

Industrial Design

Students interested in art, engineering, and business may consider this education. The focus here is on developing the design for products, whether it is a sports car, milk box, or coffee maker. These professionals work in a wide variety of industries, so the job outlook is pretty good.

The salary rate is $71,640 on average, ranging from $41,860 to $118,440.

Entertainment and Media Management in Arts

This might not be the first thing that comes to mind when you are talking about art majors, but it is definitely worth mentioning. The main career path for individuals in this program is to become an agent or business manager for artists, musicians, athletes, or performers. This profession combines knowledge of art with business and marketing management.

The average annual salary for such agents and managers is $75,420. The range is from $35,840 to 190,500.

Fashion Design 

Majoring in fashion and apparel design opens doors to many opportunities, from becoming a designer yourself to working for high-end brands and manufacturers. It has great potential for career growth and earning. But the industry is quite competitive.

Fashion designers earn $75,810 annually, with the range from $38,570 to $146,300.

Another possible position to look for is purchasing manager or agent for shops or enterprises. Such professionals have an average salary of $72,270 annually ($39,810-$112,170).

The only difficulty for those interested in fashion is that the job outlook is in a small decline right now, so the positions are not as easy to land as others in this list.

Drama and Theatre Arts 

Drama and dramatics are some of the traditional degrees one can acquire in arts. This education program is widely available almost everywhere and offers 77% of employment opportunities. It involves not only actors but also directors that are willing to work in theater production.

According to the U.S. BLS, theatrical producers and directors earn $76,400 per year on average. The range is quite wide – from $36,070 being the lowest rate and $184,600 being the highest. The job outlook is growing by 10% a year, which is higher than average. So there is a place for new professionals in this field.

As for theatrical actors, the average rate is $21.88 per hour. The range is from $10.51 to $64.92. It is hard to evaluate the yearly salary as the working hours for actors are irregular. But it is still a decent payment to look for.

Interactive Media Design

This major allows combining the best parts of both worlds – technology and design. Students that graduate with such diplomas can work in the gaming industry, animation, or multimedia industries.

It is not as widespread among colleges and universities as other programs, but it provides great employment prospects. Salary rates vary greatly as in other art-related majors. It depends on many factors, from skills and experience to projects, industry, and location. Another advantage is the possible flexibility of this career – it allows working individually or being a part of a huge company.

Special effects creators and animators get paid $77,700 annually, with the range from $42,390 to $142,750. The number of job opportunities grows at the usual rate of 4%.

Art Director 

This is one of the most profitable occupations for people with degrees in arts. Of course, for a high-level position, it requires not only a college diploma but also at least 5-7 years of experience in the industry.

Art directors work in magazines, television productions, newspapers, or packaging companies. They are responsible for visual style and imagery. One can become an art director with various art-related degrees, like photography, design, or illustration.

The annual payment rate is $97,270 (from $54,530 to $199,250), with the most profitable industries being motion pictures and advertising.

In Summary

Creative careers are essential for almost any industry and offer splendid opportunities for graduates. The annual salary ranges significantly for almost any major. But the average return on investment for all these educational programs are quite good. They also provide fulfilling and flexible employment options.

Author Bio: Hanna Douglas is a professional essay writer at EssayWritingService with a focus on art and literature who has been working in this field since college graduation. She is passionate about visual art and its expressive means both in her career and everyday life.

The post 11 Most Profitable Art-Related Majors appeared first on Art Business News.

Besides changing the form and view of fine arts, media culture has redefined the audience of fine art and enabled budding artists to unleash their creativity. This article views the impact of media culture on fine arts and the views of various professionals.

Who are These Professionals?

We sampled four professionals with vast exposure in either field for a better glance into the relationship between fine arts and media culture. Our research entails the views of Lee Rainee, Sandra Arnold, Daron Fogelson, and Eyal Gever.

Rainee is the director of internet and technological research for the Pew Research Center. Their publication (Impact of Mass Media on Fine Arts) with Kristin Thomson and Kristen Purcell outlines the benefits and threats posed by mass media to the fine arts industry.

Doron is the vice president for media and entertainment practice at dataart.com and has vast software development and business analysis exposure. Eyal Gever is an Israeli 3D digital sculptor, and Sandra Arnold an author at AmericanVideotape.com with vast exposure to media culture.

What are Mass Culture and Fine Arts?

To understand the correlation between fine arts and media culture, we must define each field. Media culture refers to the overall impact and intellectual direction provided by mass media.

This refers to the culture that arises under the influence of mass media. On the other hand, fine arts mainly hold an aesthetic value and have a minor functional role.

The Impact of Media Culture on Fine Arts 

1. Access to a Larger Audience

The strive for new clients is a primary goal for many private establishments. Unlike previous years, visits to galleries and art showrooms have been on a constant drop.

This is mainly because millennials have been accustomed to socializing and transacting on online social platforms. Fogelson cites millennials as the primary online consumers of fine art, necessitating an outreach approach that promotes optimal interactions with millennials.

Unlike traditional galleries, mass media exposes fine art to larger specific audiences, thus promoting individual styles. According to Gever, this helps diversify the art industry compared to the traditional dogmatic approach, where gallery owners determined what was suitable for the audience.

The sophistication of technology allows budding artists to break into the field and gain exposure without being overshadowed by famous works.

Unlike showrooms where renowned artists had better chances of landing a spot on the gallery walls, media culture creates room for different styles and tastes and connects artists to the right audience.

2. Monetization of Artwork

At an Artist’s Level

Although media culture ranks as an excellent tool for maximizing the consumer base of fine arts, it is more limiting to individual growth. First, arts have been leveraged as tools for advertisement (Impact of Mass Media on Fine Arts, 2013), thus offer the most benefits to large corporations and established graphic designers.

Even worse, the saturation of fine arts has presented artists with a challenge to monetize their work. This is significantly due to the plethora of royalty-free art platforms, which have instilled consumers with the notion that art should be free.

The publication further shows that fine arts exposure on digital platforms has caused decreased attendance at in-person events, thus crippling ticket sales at art galleries and expositions.

Sandra Arnold implores media culture for serving as a leeway for novice artists to realize optimal growth. Consequentially, this lowers the value of fine art and makes it hard for artists to earn a living from their skills.

However, talent exposure to a specific audience provides quality support, which artists require to advance their careers. Gever identifies one such benefit of media culture: it allows artists to enjoy crowdfunding and pursue their interests.

Art Galleries and Museums

Although media culture is associated with the downfall of galleries, Fogelson offers a neat approach that allows art galleries to expose their work to a larger audience and gain more income. Fogelson suggests the gamification of museums in virtual realities similar to Minecraft. This approach would appeal to millennials and broaden the sources of income to range from in-game purchases to licensing of cultural assets.

By embracing this approach, art museums could retain their publicity and gain the upper hand in event planning. Additionally, galleries could make the most of virtual events, thus exposing their work to a larger audience.

This allows for flexibility in operations, efficient ticket sales and also paves the way for digital arts.

1. A Threat to Traditional Artistry

Like Sandra Arnold, many artists feel that media culture is slowly ridding art of the human touch. Unlike traditional artists, modern artists rely on a mouse, a touchpad, and a computer to create enigmatic output.

Even worse, there is a surge of AI projects which can produce quality art with little human intervention. This may impair judgment of quality art and make it hard for artists to gain a reputation in the field.

2. A Boost in Creativity

Media culture has greatly revolutionized art to meet the demands of the current audience. Besides connecting artists to relevant markets, media culture grants artists all the essential tools to bring their creativity to life.

Final Verdict

Although the fine arts are essential for their aesthetic appeal, today they are significantly driven by mass culture. While the former threatens the traditional arts field, it offers an excellent chance for fine art to grow in value and popularity.

For this, artists have to collaborate with current and upcoming technologies and adapt to the changes in consumer demands.

Author Bio: Timothy Miller is an author with vast exposure to software development, online art markets, and AI. Owing to his exposure, Miller offers academic and expert help on Mypaperwriter.com, thus helps students and employers resolve various challenges.

References:

Section 6: Overall Impact of Technology on the Arts. (2013). Retrieved 20 May 2021, from https://www.pewresearch.org/internet/2013/01/04/section-6-overall-impact-of-technology-on-the-arts/

Gever, E. (2012). Technology and art: Engineering the future. Retrieved 20 May 2021, from https://www.bbc.com/news/entertainment-arts-19576763

The post Fine Arts in the Context of Media Culture appeared first on Art Business News.

But in a time full of darkness, there is a beacon of light for both art lovers and artists as The Museum of Wild and Newfangled Art (mowna) announces their new online Biennial, a museum born out of the pandemic and specifically designed for the digital age. Launching Friday, April 30, 2021, the show will run until September 22, 2021, and features an international pool of artists selected from 44 countries throughout the world.

Co-founders Cari Ann and Joey Zaza created this new online Biennial with the goal of supporting artists by not only showcasing their work, but also helping them make a living. In fact, 70% of the profits earned by the museum through membership sales, store sales, and ticket sales go directly to the artists!

The Museum spent the greater half of January and February selecting artists to participate in their new online Biennial and they are proud to announce they will be supporting over 100 artists on their digital platform with over 20 hours of content to be viewed from images, paintings, drawings, videos, fashion, sculptures, photography, and much more.

Co-founder Joey Zaza says “there’s nowhere else that you can see this collection of art, in this way. There are hours of artwork to explore, play with, and listen to, twenty-four hours a day.”

Featured works include “The Lockdown”, a VR sonic memory installation by Mana Saei, “Planes of resistance” an empathy experiment to explore the world from the vantage point of a black woman using autobiographical acrylic compositions and sound by Linda Rebeiz, a Lebanese-Senegalese artist living in Accra, Ghana, “ERRANDS”, a portrait series documenting our shared shelter-in-place experiences by Zachary Handler of Baltimore, Maryland who will perform 3 slots of portraits per week for the month of May to museum guests, first come, first serve. “Susan” is an interactive augmented/virtual reality and video sculpture web experience by Sue Roh, a Brooklyn-based Korean-American multimedia artist navigating the IRL and URL. “Black Man in America” is a film by Vance Brown and Justina Kamiel Grayman from New York, NY. An interactive new-media installation, “AuxeticBreath”, visualizes the rhythmic respiratory rate, as well as tidal volume of collective human breaths using soft robotics covered with auxetic structures by Hyejun Younof Salzburg, Austria. “PETSCII leaks” by ailadi, an Italian artist whose works have been viewed hundreds of millions of times, are a series of ASCII inspired gif comics. A series of experimental music videos from the opera “The Magic Hummingbird” by Joseph Martin Waters from San Diego, CA will also be shown.

To kick off the Biennial, mowna will host a special screening of the feature doc The Faithful: The King, The Pope, The Princess, by Annie Berman on April 30th at 9 pm Eastern Time. The opening event will also be followed by a Q&A and a first look at the entrance to the Biennial!

Tickets and museum memberships can be purchased on their website, https://www.mowna.org/.

About mowna

mowna seeks to create an ever changing, fun, thoughtful, beautifully designed space to encourage awareness and mindfulness through the exhibition and experience of art and serves the public’s need for art for the highest good of all. By addressing the current needs of not only the artist but also the audience, mowna is breaking barriers within the global art community.

mowna offers the preservation of artworks through an online collection that is an educational resource and archive for its members and its artists, and aims to find, display, and support wild and newfangled art through the incorporation of innovative new technologies and mediums. mowna provides artists with financial compensation for their art and expands awareness of their talents via a sustainable platform where they can flourish.

The post Museum of Wild and Newfangled Art Hosts New Online Biennial appeared first on Art Business News.