The competition will see the capital's 32 boroughs bid for more than
£1m of funding to stage a programme of cultural events and initiatives.
It will be supported by a grant of £300,000 from City Bridge Trust, part of the City of London Corporation.
The London Borough of Culture award is part of the mayor's plans to support the arts in London.
Two boroughs will be crowned winners in February, taking the title of London Borough of Culture for 2019 and 2020 respectively.
Hall said the winning boroughs would be "chosen based on their artistic
vision and ambition to deliver outstanding cultural initiatives in
their local area, putting communities at the centre of the programme's
design and delivery".
Several cultural institutions will provide
help to the boroughs, including the Barbican, the Museum of London, the
Roundhouse, Film London and the National Trust.
Friday, June 30, 2017
Thursday, June 29, 2017
|courtesy of LaborFest|
LaborFest is an annual festival celebrating the history and culture of working people through film, art, lectures, and exhibits all over the Bay Area from July 1-31, 2017.
2017 Schedule: http://www.laborfest.net/2017/2017schedule.htm
The festival starts on July 1st with a lecture on the internment during WW II of Japanese Americans
July 1 (Saturday) 1:00 PM (Free) National Japanese American Historical Society - 1684 Post St., SF
This year is the 75th anniversary of the internment of over 120,000 Japanese Americans and Japanese Peruvians iThe festival commemorates the 83rd anniversary of 1934’s “Bloody Thursday” when two workers were shot and killed in San Francisco for supporting the longshoremen and maritime workers strike. The incident brought about the San Francisco General Strike.
More events at the webpage.
This year also marks the 80th anniversary of the 1937 sit-down strikes. LaborFest will be commemorating this with films about these struggles and the recent struggles of workers in Madison, Wisconsin against Scott Walker
LaborFest was established in 1994 to institutionalize the history and culture of working people in an annual labor cultural, film and arts festival. It begins every July 5th, which is the anniversary of the 1934 “Bloody Thursday” event. On that day, two workers Howard Sperry and Nick Bordoise were shot and killed in San Francisco. They were supporting the longshoremen and maritime workers strike. This incident brought about the San Francisco General Strike which shut down the entire city and led to hundreds of thousands of workers joining the trade union movement.
The Organizing committee of LaborFest is composed of unionists and unorganized workers, cultural workers and supporters of labor education and history. We encourage all unions not only to support us with endorsements and contributions but also to include activities about their own union members, their history and the work that they do.
We support the establishment of LaborFests around the country and internationally. There are now LaborFests in Tokyo and Osaka, Japan, every December. Laborfests have also taken place in Buenos Aires, Argentina and El Alto, Bolivia. In April of this year, the first LaborFest in Capetown, South Africa took place. In May, there were LaborFests in Istanbul and Ankara, Turkey. The need to build local, national and international solidarity is critical, if labor is going to face the challenges it faces on all fronts. LaborFests help bring our struggles together in art, film and music.
LaborFest Organizing Committee
Wednesday, June 28, 2017
June 28, 1577. Sir Peter Paul Rubens (28 June 1577 - 30 May 1640), was a German-born Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects. In this image: A visitor looks at the oil painting "Léda et le cygne" de 1600 by Flemish painter Peter Paul Rubens at the Louvre-Lens museum in Lens during the latest exhibition. AFP PHOTO PHILIPPE HUGUEN.
From The Art Newspaper. By Theodore Rabb. 2 June 2015
The powerful presence of Rubens in every ageAlmost impervious to changes in taste, he hovers over nearly every generation since his own, admired for virtues that ranged from his use of colour to his evocation of atmosphere. He was himself an avid copyist of those who preceded him—notably Raphael, Romano and Titian—and he inspired dozens who came after….Like just a handful of the powerful presences of the last 800 years, from Giotto to Cézanne, it is not solely his achievement that defines his importance; it is also the legacy that has kept him alive ever since his own exuberant career came to an end.
Sunday, June 25, 2017
June 25, 1852. Antoni Plàcid Guillem Gaudí i Cornet, often referred to by the Spanish translation of his name, Antonio Gaudí -- was a Spanish Catalan architect who operated in the same time period as the Modernist style (Art Nouveau) movement but was famous for his unique and highly individualistic designs and thus is not categorized as such. In this image: The Casa Milà, in the Eixample, Barcelona.
Biography: The son of a coppersmith, Antoni Gaudí was born on June 25, 1852, and took to architecture at a young age. He attended school in Barcelona, the city that would become home to most of his great works. Gaudí was part of the Catalan Modernista movement, eventually transcending it with his nature-based organic style. Gaudí died on June 10, 1926, in Barcelona, Spain.
If you are going to Barcelona, these are the must see buildings: https://www.globotreks.com/destinations/10-gaudi-buildings-barcelona/
UNESCO World Heritage: http://whc.unesco.org/en/list/320
Saturday, June 24, 2017
Queen of Diamonds (1909) by Margaret Macdonald Mackintosh, one of the defining artists of the "Glasgow Style"
The beaded jewellery created by Maasai women artisans,Tanzania, is integral to Maasai culture
Maria Naita, multi-media Ugandan female artist known for her focus on women as subjects
Fauvist painter and early Modernist Marguerite Thompson Zorach, Provincetown, Sunrise and Moonset (1916)
Hannah Ryggen (1894–1970),Swedish-born Norwegian textile artist, one of the most significant Scandinavian artists of the 20thc
Two women shipyard workers, Richmond shipyards, US. c. 1943 by Dorothea Lange
From the twitter feed: https://twitter.com/search?q=%23womensart&src=typd
Friday, June 23, 2017
Instead of the polished urban vistas for which he is famous, this painting by the Venetian master of Enlightened views portrays a hardworking corner of the city where huge chunks of hewn stone show how Venice got built. Canaletto takes us behind the scenes of his city to expose the work that went into it. Beauty is born from the artisan’s sweat. Yet the scene is quiet, as if work has stopped, and Venice is no longer growing. It is now, in the 18th century, frozen and beginning to decline.
•National Gallery, London (Via the Guardian on line).
Take an 18th century Grand Tour courtest of the National Gallery: https://www.nationalgallery.org.uk/paintings/learn-about-art/paintings-in-depth/the-grand-tour
Tuesday, June 20, 2017
|Das Undbild, 1919, Staatsgalerie Stuttgart.|
June 20, 1887. Kurt Hermann Eduard Karl Julius Schwitters was a German painter who was born in Hanover, Germany. Schwitters worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.
|Berkeley Art Museum and Film Archive. Reproduction of"Merzbau: installation in Schwitter's house in German, Destroyed during WWII|
From a review I wrote in 2011 when the Berkeley Art Museum and Film Archive had an exhibit of Schwitter's work. “Kurt Schwitters, Color and Collage” which opens Wednesday at the Berkeley Art Museum is the first major overview of the legendary German artist’s work presented in the United States in twenty-six years. The exhibition includes approximately eighty assemblages, sculptures, and collages made between 1918 and 1947 that elucidate the relationship between collage and painting—as well as color and material—in Schwitters’s work.
|Cover of Anna Blume, Dichtungen, 1919|
It also features the reconstruction of part of the artist’s monumental walk-in installation piece, Merzbau, which was bombed by the Allies in 1943. Originated by the Menil Collection in Houston, Texas, BAM/PFA’s presentation is the only West Coast stop for the exhibition.
Kurt Schwitters was a man of contradictions. He was born, raised and lived in Hanover which was the epitome of German bourgeois life
He was conventionally trained, could and did paint academic portraits and landscapes all his life. He had a bourgeois marriage and lived from the rents of property owned by his bourgeois parents.
Yet, he was one of the most original artists of the 20th century. In 1919 Kurt Schwitters cut four letters from an advertisement, for use in a collage. He concocted the nonsense word"Mertz" from the combination of letters in the collage. He used that nonsense syllable for the rest of his career.
He was a poet, an artist who collaborated with the Dadaists and other cutting edge art movements of the post WW I period, a typographer, a writer who produced his own magazine called, (what else), “Mertz.”
Merz also amounts to type on paper, a sign without a signified, an artist's book without image or story. Schwitters experimented with repeated strings of typewriting as poetry. Conversely, the constructions could pass for real papers, the material behind a still life. Think of each work as a tray, like an in-box today. Schwitters, were he alive, could present the tray each morning to a businessman.
Merz also takes on the real world, between the disasters of World War I and the Great Depression. Part of a company name, "Commerz- und Handelsbank," it accepts the anonymity of advertising, printing, mass reproduction, and corporate power. It accepts the aging and decay of these tarnished rituals, along with the dirt and broken wire left over from war. For all his care, Schwitters does not allow an easy escape into fine art.
Train tickets, chocolate wrappers, bits of paper, any material that was soiled, abraded, crumpled was used for his constructions. He used these materials in a painterly fashion. Gauze, netting, transparent cellophane were also among his favorite materials. The nuances of gray and brown that are so prevalent in the his works (and in the show) is partially due to his choice of materials but also caused by exposure to light and the natural disintegration of materials that were never meant to last.
Schwitters' collages were not meant merely to shock, annoy, puzzle or defy the conventions of society. "What we are expressing in our work," he once said, "is neither idiocy nor subjective play, but the expression of our time as dictated by the time itself."
Looking carefully at the pieces, one picks out text which is juxtaposed into the pieces which are by turns playful, visually beautiful, puzzling, an unexpected piece of social commentary in a cancelled stamp of the deposed Hohenzollerns dynasty or a fragment of an English ration book, all arranged with the exquisite precision of a Persian miniature.
In his collages, spatial relationships are suggested, images shift against text, and fragments are overlaid with color or more textured materials. There is no story, there is only (usually) - as if only were an adequate word - of the direct experience of art without narrative, politics or message.
He works with and against the picture plane to create shifting surfaces, ostensibly abstract but often layered with text. "His collages," wrote Critic Diego Valeri, "are little miracles—tasteful, sensitive, communicative, and even touching. To the unwary eye, they may seem mere exercises in patience. But to the discriminating onlooker, they turn out to be small but exquisite works of art.”
Then, too, Merz makes no sense at all, and its very nonsense leaves room once more for play. His newsprint rarely spells out political points or puns. German Expressionism and Dada knew herz and schmertz, heart and pain, all too well. In place of their pessimism, Schwitters evokes their sounds as a comforting cliché, like moon and June. Life goes on somehow, and so, after all, does painting. (John Haber reviews).
After the Nazis came to power, Schwitters' situation became desperate. In 1937, waiting an "interview" with the Gestapo, he fled to Norway and from there to England, where he was interned for part of the war. Even in the internement camp , he taught and produced over 200 works. He died in England in 1948.
Images from the Berkeley Art Museum, 2011 exhibit, Used with permission
In Search of Lost Art here
NY Times here
Sunday, June 18, 2017
From the British Museum: Tomorrow is the start of
#MuseumWeek! We’ll be sharing interesting stories & objects from around the world that celebrate each day’s theme
Follow your favorite museum on twitter - more treasures than a dragon's horde.
Follow your favorite museum on twitter - more treasures than a dragon's horde.
Saturday, June 17, 2017
Born on June 17th in 1681. He was painter and architect, who worked in Rome and is mainly known as one of the vedutisti ("view painters"). As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are his view of the interior of the Pantheon (on behalf of Francesco Algarotti), and his vedute—paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins, have a fanciful and unreal embellishment characteristic of capriccio themes.
|Interior of St. Peter's, Rome. 1754. National Gallery, Washington DC|
|Rome as an art gallery, 1759. Wild but wonderful idea from Giovanni Paolo Panini, who was born on this day in 1691. At the Louvre|
|On Piazza Navona, Rome, they're preparing festivities for birth of Louis, Dauphin of France, 1729. By Giovanni Paolo Panini, born OTD 1691|
|Faith among the ruins: sermon of an apostle in ruins of fantasy ancient temple by Giovanni Paolo Panini, born OTD 1691.|
Friday, June 16, 2017
|from the Anderson Collection|
New additions to the Anderson Collection at Stanford: The new acquisitions are in keeping with the original collection of 121 works of post-World War II modern and contemporary American art by 86 artists given to Stanford by Harry W. “Hunk” and Mary Margaret “Moo” Anderson and their daughter, Mary Patricia “Putter” Anderson Pence, the Bay Area family which has been collecting art for over 50 years.
by Robin Wander
John Seed: Here are three "Arts and Culture" headlines I came across this morning on the web (from the LA Times, Huffpost and Artnet.com) Is anyone else getting depressed about the realities of art and culture coverage on the net?
Two of the comments: Call me old-fashioned, but when it comes to art criticism, I want to read/hear art historically-informed voices of authority and experience - not post grad school critical theorizing, or multi-syllabic subjective gobbledy-gook....And And I will not and do not accept the way things are now in the art world. I'll do my part to point out the emperors new clothes. I'm not alone. Perhaps you feel you don't have a right to openly dislike conceptual art, performance art, and art videos. I feel I have that right and they're in my world. (If you are on Facebook, check out the discussion. Art may not matter to a lot of people but it matters to these people and their comments are passionate and informed).
The Modern Art Notes Podcast: MoMA's Leah Dickerman discusses the Robert Rauschenberg retro she co-curated, then Ken Ashton on his new photobook on Portsmouth, Ohio.
|Not Kermit the Frog. What the experts at the British Museum think that ancient painting looked like.|
My comment: We have known for some time that the old sculptures were painted but those clumsy, garish colors do not do justice to the skill of the ancient artists. We have frescoes, mosaics, the Fayum portraits to show us how the ancients used colors and it wasn't that g-awful slathering of ugly colors.
From Mary Beard, Professor of Classics at Cambridge: "Were the sculptures painted? The short answer is ‘yes’. Much of the pure, gleaming white marble sculpture that we now admire was certainly coloured in some way. The question is how was it coloured: a delicate wash, or bright, glaring hues?" ...
"It’s a great, garish multi-colour spectacular. My question is quite how far you believe the details. Does the colouring of ancient statuary really mean this kind of bright, in-your-face, dazzle"….As always, the comments on her page are thoughtful and erudite.
Thursday, June 15, 2017
|Dance to the Music of Time, Wikipedia|
Nicolas Poussin (French: [nikɔlɑ pusɛ̃]; June 1594 – 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.
He worked in Rome for a circle of leading collectors from there and elsewhere, except for a short period when Cardinal Richelieu ordered him back to France to serve as First Painter to the King. Most of his works are history paintings of religious or mythological subjects that very often have a large landscape element.
...Poussin brought a new intellectual rigor to the classical impulse in art, as well as a unique, somewhat reticent poetry. His sensitivity to the nuances of gesture, design, color, and handling, which he varied according to the theme at hand, permitted him to bring a very focused expression to his art and to create for each narrative a memorable and enduring form. The wide range of his oeuvre includes scenes of subdued tenderness, bacchic revelry, mourning, righteous civic virtue, and other more difficult to identify states of mind or being.
|The Shepherds of Arcadia (Et in Arcadia ego) Louvre|
|Four Seasons, Autumn, Public Domain|
|Self Portrait, 1650 Web Gallery of Art|
List of paintings: https://en.wikipedia.org/wiki/List_of_paintings_by_Nicolas_Poussin
Wednesday, June 14, 2017
Born #OTD in 1904, Margaret Bourke-White revolutionized the photography profession by being the first female photographer for Life.com and Fortune, the first authorized Western photographer allowed into the Soviet Union and the first female war photographer to work in combat zones during World War II. She captured the brutality of the Nazi concentration camps, the despair of the Great Depression, the final years of Mahatma Gandhi and the architectural magnificence of the Chrysler Building.
Read more about the “Great Lady with a Camera” via TIME: ti.me/2tdiuzY
Photo by National Archives on Getty Images
|Sir John Luttell, very odd allegorical portrait|
Hans Eworth (or Ewouts; c. 1520–1574) was a Flemish painter active in England in the mid-16th century. Along with other exiled Flemings, he made a career in Tudor London, painting allegorical images as well as portraits of the gentry and nobility. About 40 paintings are now attributed to Eworth, among them portraits of Mary I and Elizabeth I. He moved to England & made it big painting Tudor nobility.
Peter Paul Rubens (https://twitter.com/PP_Rubens) has posted some gorgeous images so I will not be selfish and keep them all to myself.
Tuesday, June 13, 2017
|Pont Neuf wrapped up|
Valley Curtain 1972 (USA)Bruce McAllister, 1936-, Photographer (NARA record: 3823134) - U.S. National Archives and Records Administration
The Floating PiersMarcio De Assis - Own work
Christo Vladimirov Javacheff and Jeanne-Claude were a married couple who created environmental works of art. Christo and Jeanne-Claude were born on the same day, June 13, 1935; Christo in Gabrovo, Bulgaria, and Jeanne-Claude in Morocco. They first met in Paris in October 1958 when Christo painted a portrait of Jeanne-Claude's mother. They then fell in love through creating art work together.
Their works include the wrapping of the Reichstag in Berlin and the Pont-Neuf bridge in Paris, the 24-mile (39 km)-long artwork called Running Fence in Sonoma and Marin counties in California, and The Gates in New York City's Central Park.
Credit was given to "Christo" only, until 1994, when the outdoor works and large indoor installations were retroactively credited to "Christo and Jeanne-Claude.” They flew in separate planes: in case one crashed, the other could continue their work.
Jeanne-Claude died, aged 74, on November 18, 2009, from complications of a brain aneurysm.