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New Post goes Up Every Wednesday. November 18, 2014, by Jack Dziamba.


Davide Martello plays John Lennon’s Imagine on a grand piano outside Bataclan theatre, scene of one of deadly attacks.


John Lennon – Imagine

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New Post Goes Up Every Wednesday. November 11, 2015 by Jack Dziamba


Modigliani nu couché

Born Amedeo Clemente Modigliani 12 July 1884 Livorno, Tuscany, Italy Died 24 January 1920 (aged 35) Paris, France

Born Amedeo Clemente Modigliani
12 July 1884 Livorno, Tuscany, Italy
Died 24 January 1920 (aged 35) Paris, France

From the Modigliani-Foundation,

“Modigliani died penniless and destitute-managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants.”

From Art Daily,

“The Chinese collector who bought a sensuous Modigliani nude for $170.4 million in New York is former taxi driver turned tycoon Liu Yiqian, who has founded a museum in Shanghai.”

From Christie’s,

H/T Mark  Dziamba

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New Post Goes Up every Wednesday. October 28, 2015 by Jack Dziamba

le-corbusier--menace -catCorbusier – Menace, 1938 Oil on canvas 162 x 130 cm. Landau Fine Art, Montreal Canada & Meggen Switzerland

FIAC Art Fair

Art Fairs have become on of the premier venues at which to see and buy art. BlumbergBusiness, in an article published in August, 2015  titled, The Galleries That Transformed Chelsea Can’t Pay the Rent,” reported on the increasing popularity of art fairs as an important business model for Art Galleries moving out of Chelsea due to high rents.

Art fairs are playing a growing role as a revenue source. Sales at these shows accounted for 40 percent of all sales by dealers in 2014, up from 33 percent a year earlier, according to the latest figures by the European Fine Art Foundation.”

In an article published in October, 2015, BlouinArtInfo, in an article titled, “Can the Single-Venue Gallery Survive? noted that the closing of traditional art galleries has swept the entire art world from New York, London, Paris, and China. Indeed the business model of the single gallery is being called into question. The popularity of the Art Fair can be seen from the following quote from Artsy,

“Just days after a high-volume edition of Frieze London and Frieze Masters came to a close, the art world hopped on the Eurostar for the 42nd edition of FIAC. Held under the glass ceiling of Paris’s Grand Palais, the fair welcomes 170 galleries from 22 countries in 2015—down from 191 in 2014, with reductions having allowed for larger booths, particularly upstairs in the section for younger galleries. By all accounts, in Paris, the market continued at the rampant pace set during Frieze Week, shrugging off expectations of a slow fall season.”

We’ve chosen to take an in-depth look at one art fair, FIAC,   recently held at the Grand Palais in Paris.

First, “60 Works in 60 Seconds” [click to see video] a quick view of what was on offer, and second, to view some of the works up close. For many, it will be a first experience, and, thanks to the tools of the New Media, you can visit FIAC right from where you are now.

The ARTSY article continued,

White Cube logged “just under £1 million in sales on the opening day,” according to the gallery’s Sharis Alexandrian, including works by Etel Adnan, Imi Knoebel, Baselitz, Sergej Jensen,Eddie Peake, Mona Hatoum, and Theaster Gates.

“Over at Hauser & Wirth’s stand, which Paul Schimmel curated in homage to the Charlie Hebdo terrorist attack, things also got off to a pacey start. Isa Genzken’s untitled mannequin sculpture from 2012, which recalls revolutionary movements in Germany, led the pack, selling for €200,000. Works by Mark Bradford, Mike Kelley, and Philippe Vandenberg were also transacted upon during opening day.”

Installation view of Hauser & Wirth ’s booth at FIAC, 2015. Photo by Marc Domage, courtesy FIAC and Hauser & Wirth.

Sprüth Magers also made an early splash, selling George Condo’s Large Female Portrait (2015) to an American for $600,000. In light of the recent red-hot market for young painters making surrealist-inspired work, the painting screams out “anything you can do I can do better.” Condo’s 2012 bronze, The Philosopher, sold to a Middle Eastern collector, with the gallery also reporting the sale of multiple Louise Lawlers for between $10,000–85,000.”

“Gordon VeneKlasen of Michael Werner reported FIAC being “particularly good for us this year,” having sold several works by Gianni Piacentino (ranging from $50,000–350,000), Markus Lüpertz, A.R. Penck, Baselitz, and Enrico David, by Thursday afternoon. Piacentino’sDull Orange Portal I (1966) is of particular note. “It was acquired byLucio Fontana but then he died so it ended up staying in the studio,” said the gallery’s Gyonata Bonvicini of the work.”

Installation view of Gladstone Gallery (left) and Sprüth Magers’s booths at FIAC, 2015. Photo by Marc Domage, courtesy FIAC.
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Edouard ManetBerthe Morisot au bouquet de violettes 1872 Photo (C) RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski

Edouard ManetBerthe Morisot au bouquet de violettes
Photo (C) RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski


See French Art on Twitter – Fine Art in the New Media

“The French Minister of Culture  launches .”

One might say, “So what, people tweet lots of stuff.” However, this shows how through a simple tweet, you can unlock high resolution images from French Art, download them, find out where they are located, tweet the images to others, and much more, all from a simple tweet.

In this blog we review and report on ways that the tools of the new media, in this case, Twitter, can make Art accessible to everyone, everywhere. The tweet is only 119 characters. Yet, it presents us with a gateway into French Art through the “looking glass” [“portal”] of a site created by the French Ministry of Culture.  

As you will see from the screen shot of the site’s main page (below)’ the works may be searched by Authors, Periods, Locations, Techniques, and Colors. These are artworks from major museums in France assembled in one place.

Screen Shot- Images d' Art

Screen Shot- Images d’ Art

Suppose you chose the 19th century as the period you would like to see. The screen shot below shows you how many works you may view, in this case 125597!

Screen Shot Images d' Art

Screen Shot Images d’ Art

Then, suppose you would like to find out whether a particular museum has any in its collection in this case the musée d’Orsay. There are 30017 works.

Screen Shot Images d' Art

Screen Shot Images d’ Art

Now, suppose you want to share, “heart,” email, or download an image. Below is a screen shot of – La gare Saint-Lazare by Claude Monet.

Claude Monet - La gare Saint-Lazare

Claude Monet –
La gare Saint-Lazare

Images d’ Art is a superior example of the use of New Media for Fine Art. It meets all of the criteria stated in our Purpose page:

“1. The first advantage of Fine Art in the new media is that it should be accessible, from the Google Art Project, and the new and dynamic Museum websites for the Louvre, the Metropolitan, the Musée d’Orsay, the Museum of Fine Arts, the Van Gogh Museum, and others so that, “There is [virtually] nothing between me and my Leonardo.”

2. Fine Art in the new media should be interactive, the zoom views of Google Art being a present prime example.

3. Fine Art in the new media should be viewer directed. “I want to see what I want to see.”

4. Fine Art in the new media should be able to be manipulated, which enables the viewer to use their creativity. to examine, adapt, and experiment with the art. In this sense, you can even make one of your pictures look like a Warhol .

5. Fine Art in the new media should be comparative , enabling the viewer to array pictures from different museums side by side to study technique, execution, and genre.

6. Lastly, Fine Art in the new media should be able to be viewed as a continuum. of man’s effort at visual expression.”

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Why Aren’t E- Book Publishers Doing This? New Archive Offers Free Access to 22,000 Literary Documents From Great British & American Writers

tess cover

New Post Goes Up Every Wednesday – October 14, 2015 -by Jack Dziamba 


We have written often about the site Open Culture as one of the best sites on the internet on Culture, including Art and Literature. One of our favorite writers is Josh Jones*, has written the  article below on the  Harry Ransom Center‘s release of free access to 22,000 documents from American and British writers, here featuring the the work of Thomas Hardy. As you will see at the end of the article, the Harry Ransom Center has free access to documents from numerous other writers.  One of the thrills of visiting libraries that have an author’s “papers” is to see examples of the author’s work in progress, as the book is being created.  Why can’t we see this in our e-books?


The article is an example of fine writing, but shows the creativity that e0book publishers should be using to publish e-books which have real value. The article covers documents in the Ransom Center about Thomas Hardy.


Not only does the article give you links to some of Hardy’s most famous works, but shows you Hardy’s corrections of galley proofs, his architectural drawings, hand written correspondence, and signed typescripts. What the Harry Ransom Center has done here is a stunning example of the content that e-book publishers could add to their books to produce something of real value, rather than merely an electronic scan of the printed text, which continuously receives price resistance from frustrated readers. In other posts, we have called this concept the “Enhanced e- Book, or E+, profiling works by Jack Kerouac and other writers. See, for example,  E-BOOKS: WHAT CAN AN ENHANCED E-BOOK, “E +,” DO FOR JACK KEROUAC’S ON THE ROAD?

Re-blogged From Open Culture, June 30, 2015:

New Archive Offers Free Access to 22,000 Literary Documents From Great British & American Writers

Thomas Hardy—architect, poet, and writer … gave us the fierce, stormy romance Far From the Madding Crowd, currently impressing critics in a film adaptation by Thomas Vinterberg. He also gave us Tess of the D’Urbervilles, The Return of the Native, and Jude the Obscure, books whose persistently grim outlook might make them too depressing by far were it not for Hardy’s engrossing prose, unforgettable characterization, and, perhaps most importantly, unshakable sense of place. Hardy set most of his novels in a region he called Wessex, which—much like William Faulkner’s Yoknapatawpha—is a thinly fictionalized recreation of his rural hometown of Dorchester and its surrounding counties.”

Hardy Revisions

“Now, thanks to the University of Texas at Austin’s Harry Ransom Center, we can learn all about this ancient region in South West England, and Hardy’s transmutation of it, through Hardy’s own proof copy of a 1905 book by Frank R. Heath called Dorchester (Dorset) and its Surroundings, with revisions in Hardy’s hand. In the excerpt above, for example, from page 36 of this scholarly work, the author discusses Hardy’s use of Dorchester in The Mayor of Casterbridge and the so-called “Wessex Poems.” In the margins on the right, we see Hardy’s corrections and glosses. Though this may not seem the most exciting piece of Hardy memorabilia, for students of the author and his investment in a rural corner of England, it is indeed a treasure.”

St Juliots Hardy

“The Hardy archive also contains scans of the author’s correspondence, manuscripts and signed typescripts, and architectural drawings, like that of St. Juliot’s Church in Cornwall, above. This extensive digital Hardy collection is but one of many housed in the Ransom Center’s Project Reveal, an acronym for “Read and View English & American Literature.” Read and view you can indeed, through the intimacy of first drafts, manuscripts, personal writing, and other ephemera.”



“Other authors included in the Project Reveal archive include Charlotte Perkins Gilman, Hart Crane, Henry James, Joseph Conrad, and William Thackeray. The project, writes the Ransom Center in a press release, generated more than 22,000 high-resolution images, available for use by anyone for any purpose without restriction or fees” (but with attribution). The literary storehouse on display here only adds to an already essential collection of artifacts the Ransom Center houses, such as the papers of Gabriel Garcia Marquez, syllabi, annotated books, and manuscripts from David Foster Wallace, scrapbooks of Harry Houdini, and the first known photograph ever taken. See a complete list of contents of the Ransom Center’s Digital Collections here, and learn more about this amazing library in the heart of Texas at their main site.”

*Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness


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“Discover the parallels between two iconic artists: Vincent van Gogh and Edvard Munch. Admire the many masterpieces from all over the world, including ‘The scream’ by Munch and ‘Starry night over the Rhone’ by Van Gogh in one spectacular exhibition.

In Munch : Van Gogh, the focus is on the parallels between two iconic artists. Their visions on life and art are closely related, despite the fact that they never met. Their work is colourful, intense, expressive and radical. Their lives are remarkably similar in many ways.

For that reason, Vincent van Gogh (1853-1890) and the Norwegian artist Edvard Munch (1863-1944) are often mentioned together.”


Can the Munch : Van Gogh exhibition be seen and appreciated in the New Media? Below are highlight two aspects: the videos above and below, and The Story feature on the museum’s web site. Here we show an excerpt from “The Full Story,” showing the main page and some excerpts showing the artists’ works to illustrate the theme.  The same format is followed throughout the visual presentation.

The “Story” shows the creative use of New Media technology by first, a simple but elegant User Interface; and second. the Story has a minimum  of text, telling just enough of the story, and many times in the artists’ own words which leaves the emphasis on the visual appreciation of the art. (Compare this to the endless wall texts in many museums where the visitor seems to spend most of their time reading the text than looking at the Art.)


Munche Van Gogh 1

Read Full Story Here






More: Exhibition Catalogue

H/T Mark Dziamba


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ART & SCIENCE – New Netherlands Institute for Conservation, Art and Science research centre unites art and science

The unique NICAS research centre brings together art history, conservation and restoration with the natural sciences.

The unique NICAS research centre brings together art history, conservation and restoration with the natural sciences.

Re-blogged from ArtDaily 9/30/15:

Netherlands Institute for Conservation, Art and Science (NICAS)“A new research centre, the Netherlands Institute for Conservation, Art and Science (NICAS), launched last week. Minister of Education, Culture & Science Jet Bussemaker officially opened the centre during an event at the Rijksmusum. The unique NICAS research centre brings together art history, conservation and restoration with the natural sciences, with the aim of improving the preservation of cultural heritage.”

 Art History, Chemistry, and Physics
“This multidisciplinary approach connects art history research with chemistry and physics expertise, as well as with ICT in order to develop specialised programmes. ‘This approach facilitates the development of new applications that help us to better understand, preserve and visualise national and international heritage’, explains Robert van Langh, Chairperson of NICAS and Head of Conservation and Restoration at the Rijksmuseum. ”
Improving Fundamental Expertise
“How much damage will be caused to a pastel during transport to another museum? How can we develop cleaning methods without affecting the chemical balance in oil paintings? How did painters such as Jheronimus Bosch set to work? These are just a few of the questions that will occupy NICAS researchers. From ICT techniques analysing the working methods of famous painters like Bosch, to research into the sociohistorical context in which painted rooms such as the Oranjezaal at Huis ten Bosch were created – all these aspects will be addressed by NICAS. Close collaboration between the fields of natural sciences, art history, and conservation and restoration enables vital research to be conducted. “
International Collaboration and Support
“NICAS is a collaboration between the NWO, the Rijksmuseum, the University of Amsterdam (UvA), the Cultural Heritage Agency of the Netherlands (RCE) and Delft University of Technology (TU Delft). The institute will establish a joint research programme and a sustained research network that unites a range of disciplines. The NWO has made €5 million available for the first five years of the project. The allocation of the first round of applications for new NICAS projects is planned for autumn 2015. The NICAS concept is also supported by the Metropolitan Museum of Art in New York, the Van Gogh Museum, the Mauritshuis, the Netherlands Forensic Institute and TI-COAST.”

More: Rijksmuseum: Research and Library


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