156 ALLSTARZ Representing at The Big Egg Hunt presented by Fabergé

Text by Faust. Cope2 and Indie links by 156 ALLSTARZ.
The Big Egg Hunt presented by Fabergé was the world's largest Easter egg hunt, featuring over 250 oversized eggs designed by an extraordinary roster of artists ranging from Jeff Koons to Zaha Hadid and Ralph Lauren to, well, me. Throughout the month of April these eggs were hidden all over the city in a veritable public art scavenger hunt. For a few remaining days, through April 25th, the entire collection can be seen on display at Rockefeller Center.
Recognizing the great, once in a lifetime opportunity to create a Fabergé egg, I encrusted mine in ornamental calligraphy composed of 5000 Swarovski crystals. All of the eggs are being auctioned off online with proceeds benefitting the Studio in a School and Elephant Family charities. You can bid on this unique work of art right now by heading to Paddle8. The auction ends on April 26th at 3pm.

SOURCE: 156 ALLSTARZ World Wide - Read entire story here.

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Grand design – ecns


ecns

Grand design
ecns
Well-heeled young Chinese heading overseas to study art and design are set to change the landscape at home and abroad. Tan Xinyang said he made up his mind to study abroad while visiting a workshop at a design college in Australia a year ago. "I spent ...

SOURCE: art Design - Google News - Read entire story here.

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Because an MFA is not an MBA

Note: This is a guest post by Deanne Gertner from Artwork Archive. Scroll to the end of the post for a generous special offer!

Art history proves that artists have moonlighted for centuries: Leonardo da Vinci worked as an engineer, Paul Gauguin worked as a stockbroker, James Rosenquist painted billboards, Barbara Kruger worked as a graphic designer, Julian Schnabel washed dishes and was a short-order cook. The artists I know with full-time jobs teach, work as arts administrators, serve tables, do graphic design. With the exception of Jeff Koons, most artists with day jobs aren’t business types. They’re probably not financial planners, accountants, business development directors, or marketing experts. Indeed, if your fine arts education was anything like mine, your business of art training amounted to an hour-long seminar a week before graduation – if you were lucky. It’s no wonder that so many artists have resorted to day jobs when that first student loan payment comes due. But, as Bob Dylan says, “Times they are a-changin’.”

More and more services, products, and organizations are springing up to arm artists with the tools they need to navigate the business side of creating art, from art agents to social media coordinators to medical insurance providers to intellectual property rights lawyers. Entrepreneurs are catching on that the creative industries are a booming business. Still, most of these products and services ignore a key component: the artist’s inventory. Without a physical body of work, all that other “stuff” is useless (conceptual artists notwithstanding.) Maintaining an accurate inventory is integral to an artist’s success. It lets you know the total value of your oeuvre, who your top clients and galleries are, your average sale price, and which pieces are available where and when. If you’re like most artists, however, you probably have cobbled-together Excel spreadsheets, random sticky notes, and a semi-accurate general idea (depending on your caffeine intake that day) of where your art is at any given time.

But semi-accurate and cobbled-together will only get you so far – which is not very, I might add. One online tool, Artwork Archive, puts all that amazing, untapped inventory data – data you probably don’t even realize you have – into a sleek, sophisticated archive you can harness to make your inventory work for rather than against you. For one, you’ll be able to make educated, thoughtful decisions based on cold, hard information not whilly-nilly, Magic 8 Ball randomness. You’ll be able to determine via a geographical heat map, for instance, whether you should move work from your local gallery to the one in Santa Fe. You’ll be able to see your entire inventory in a single view to determine whether you have available work you can submit to a call for entry. You’ll know when your inventory is stagnant so that you can focus your time on marketing existing pieces instead of creating new work. And that’s not all. You can create consignment sheets, track competition submissions, graph your sales over time, maintain your contact lists, generate invoices, and export your data from the site.

Advanced Inventory Reports

Advanced Inventory Reports

Knowledge is Power

Think about how much easier tax time will be with all your sales information in one place and format. Think of the time you’ll save trying to track down pieces and galleries. Think about how much easier it will be to decide which gallery should get which piece. Think about how you’ll be working smarter not harder. You’ll be a veritable genius! Art world, watch out – there’s an empowered artist in town! As an artist, think of yourself as the sole proprietor of a small business: you’re the art director, office manager, marketing director, bookkeeper, business development director, transportation manager, the list goes on. Artwork Archive is the glue that holds all of these disparate roles together to make your art career successful – as we learned from SchoolHouse Rock: “knowledge is power!”

We all like to think that art happens in an ivory tower where the artist is as removed from material society as some princess with crazy-long hair. The truth, as we all know yet struggle to come to terms with, is that artists are people who eat, sleep, get cavities, pay taxes, and buy groceries. Impossible, I know! But understanding that art is both a way of life and the means by which you live that life, frees you of that diabolical notion that making money as an artist equals selling out. Au contraire, my friend, au contraire. Making a living as an artist supports not only yourself but the entire creative economy: paint and brush manufacturers, canvas stretchers, art supply retailers, galleries, art consultants, framers, shippers, art installers, lighting designers, appraisers, conservators, curators, docents, security guards – too many to count, for sure. Is it any wonder, then, that art is two-thirds of smart?

Special offer for Right Brain Rockstar Readers

Right Brain Rockstar fans, save 20{b29860ee6b7af5bf99d3058cca3182816eed414b47dab251265e93b8c00e69b1} on your first year’s membership at Artwork Archive.

Do you have a system for keeping track of your artwork? Let us know about it in the comments…


SOURCE: Right Brain Rockstar - Read entire story here.

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DJ Dub Presents Yasiin Bey – Re:DEFinition [Mixtape]

It’s been many years since Mos Def has released a track that I liked. But I’ve always been a huge old school Mos Def fan.  He was a dope underground MC and I don’t know what happened to him after Black on Both Sides. It was one flop after another. Plus live he was always great at moving the crowd (MC). If you ever get a chance to see him live it’d be worth the price of admission.

Anyway  – if your a big fan of the old Mos Def or your in the mood to listening to some dope hip hop – YOU NEED TO LISTEN TO THIS!

All you wack MC’s should take notes….

YasiinBeyReDef

CLICK ON THE IMAGE TO DOWNLOAD

01. Intro (beat by Hi-Tek)
02. Inner City Rock** (beat by DJ Premier)
03. Travellin Man**(beat by Mathematics)
04. 24 Hour Karate School (beat by Ski)
05. Next Universe** (beat by Rza)
06. Life Is Good (beat by DJ Deckstream)
07. B-Boy Document ’99 w/Mr. Eon, Mike Zoot (beat by Mighty Mi)
08. Standing On Guard Interlude
09. Fix Up w/Talib Kweli (beat by Madlib)
10. Wannabwhereur w/Floetry** (beat by Saukrates)
11. Another World w/Talib Kweli (beat by The Kreators)
12. Undeniable** (beat by DJ Premier)
13. Made You Die w/Mike Flo, Dead Prez (beat by Salaam)
14. Stakes Is High Remix w/De La Soul, Truth Enola** (beat by Pete Rock)
15. Forever Alive (beat by Oh No)
16. The Edge** (beat by J Dilla)
17. Oh No w/Pharoahe Monch, Nate Dogg** (beat by Diamond D)
18. Sex Love Money** (beat by Madlib)
19. Sunshine Screwface (beat by J Dilla)
20. NY Is Killing Me w/Nas, Gil Scott-Heron** (beat by Gil Scott-Heron)
21. Black Radio Remix (beat by Pete Rock)
22. I Dont Like (beat by Young Chop)
23. Niggas In Poorest (beat by Hit Boy)
24. Bey** (beat by Marc Nfinit)
25. Taxi (beat by Ski)
26. Holiday w/Jay Electronica (beat by Just Blaze)
27. Just Begun Interlude
28. Just Begun w/Jay Electronica, J. Cole, Talib Kweli (beat by Hi-Tek)
29. Love Rain w/Jill Scott** (beat by Ski)
30. Cream Of The Planet (beat by Ski)
31. Re:DEFinition (beat by DJ Dub)
32. You Already Know (beat by Oh No)
33. Exhibit B** (beat by Just Blaze)
34. Exhibit 2** (beat by Just Blaze)
35. Omfgod (beat by Mannie Fresh)
36. Say You Will (Live)

**DJ Dub Remix

PS
On a side-note M1 killed it on Made You Die! Again – wack MC’s take note! Go to Track 25:33 to hear what I’m talking about.

PSS
Let me know what you think is the best track on the mix in the comment section below!

The post DJ Dub Presents Yasiin Bey – Re:DEFinition [Mixtape] appeared first on NEW YORK CITY GRAFFITI STREET ART BLOG - WELCOME TO KINGS OF NEW YORK!.

SOURCE: NEW YORK CITY GRAFFITI STREET ART BLOG - WELCOME TO KINGS OF NEW YORK! - Read entire story here.

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English National Ballet Announces Promotions and New Joiners

Photo: © Laurent Liotardo

Tamara Rojo, Artistic Director of English National Ballet, has announced promotions within the Company as well as details of new joiners:

Yonah Acosta has been promoted to Principal. Shiori Kase, who last month won the gold medal at the USA International Ballet Competition, has been promoted to First Soloist. Yonah and Shiori will debut the lead roles in Coppélia at the London Coliseum 23-27 July. Junor Souza (winner of Emerging Dancer 2014) has also been promoted to First Soloist.

Ksenia Ovsyanick has been promoted to Soloist and Alison McWhinney (winner of Emerging Dancer 2014) and Ken Saruhashi have been promoted to First Artist.

Alejandro Virelles, currently a Soloist at Boston Ballet, joins the Company as Principal. Joining as Artists are Precious Adams, who won the Apprenticeship and Contemporary Dance Prize, Prix de Lausanne 2014, Yoko Callegari, of Boston Ballet, Adriana Lizardi, from Ballet National de l’Opera de Bordeaux, Sarah Kundi, formerly with Ballet Black who joined after appearing as an extra in Romeo & Juliet in-the-round, and Isabella Brouwers and Jin Hao Zhang who join from English National Ballet School (ENBS).

Jenna Lee left the Company after the Madrid tour to found JLee Productions and Nancy Osbaldeston after Romeo & Juliet in-the-round to join Royal Ballet Flanders. Daria Klimentová retired after 18 years with the Company.

The post English National Ballet Announces Promotions and New Joiners appeared first on English National Ballet.

SOURCE: English National Ballet - Read entire story here.

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My Dance Teacher Thought She Was My Friend — But She Was Body-Shaming Me

My high school is the only high school in the world where it is cooler to be in the spring musical than to be a cheerleader. But I wanted to do it anyways.

At the end of my freshman year of high school, I decided I was going to join the "Spirit Squad." Up to that point I had been competitively figure skating for ten years, and I wanted to have a more "typical" high school experience. I felt isolated. I needed to be a part of something.

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My sophomore year, I continued to skate before school, dance during school, and have cheer practice after school -- it was too much. But I was in the throes of an unacknowledged eating disorder, and I kept it up because I was celebrated. I was placed in the front row of dances, fellow team members asked me for diet and exercise tips, and hell, my self-deprecating humor was funny! Most importantly, I loved being on the team.

When junior year rolled around, I couldn't keep it up anymore. I lessened my extra-curricular load, and I upped the ante academically. College demanded these things, I was told. Nonetheless, I was the crowd leader that year, so I was still part of the team. I put on the polyester shells, I put my hair in a "half-up poof," and I yelled about football. But I started to feel excluded. In dance class, which I was still in, I was taken out of dances I had been in the year before. I thought to myself, "Is it because I gained some weight? I guess that could be part of it. I guess I'm not good anymore."

I was too anxious and depressed to do anything about it.

Senior year, I was going to do it all. Back on the cheer squad, I squeezed back into my shell for the third year in a row.

Fun fact about me -- I think I'm allergic to pom poms.

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My friends knew that.

Aside from loving my team mates, I was miserable. I had just entered a long distance relationship, I was worried about getting into college, and I had gained even more weight. I felt it. I knew it. And it was a topic of discussion.

In high school, my humor was purely self-deprecating, as I mentioned before. I was riddled with body insecurities as I was attempting to keep up the illusion of perfection. Humor was my way of saying, "Hey. I'm okay guys!" when I actually was not. The thing about people with self-deprecating humor is that they are usually the most insecure; and it is only okay if they, themselves, make the scathing jokes.

In practice one day, I made a joke about one of my skirts not fitting: "If I bend over too far, my buttons are gonna blow!"

This joke was not out of the ordinary. Minutes after every football game would end, I would snap open my skirt and dramatically announce, "FINALLY." Everyone would laugh, and I would make a few more jokes about not being able to breathe. It was normal.

But the reality of it was mortifying for me. This was the skirt that was too big for me sophomore year, and now I could hardly breath. It used to hang from my hip bones, and now it clung to me like Saran wrap.

So when I made this joke, my dance teacher responded by saying, "Yeah, your butt does hang out of it during all the games!"

Her "playful" comment was affirming my deepest insecurity. Does everyone know? Everyone knew my clothes did not fit anymore. I held onto this. I obsessed about this. I cried about this. But I tried to move on. What was I supposed to do? I was being too sensitive, I thought. And she was right, I was stuffed into that A-line skirt.

Next, "Block Formations" were formally instituted. The formation made it so that the only person who was visible was the person in the front, leaving the two girls standing directly behind her completely blocked. Block formation would create "cleaner" lines, and be more "professional." I'm a team player, that's fine. But time after time, I found myself at the back of these formations. And hey, so was my friend who had gained weight over the span of our cheer careers. Oh, I could be seen, I was assured. Not from the front where the audience was sitting, but from specific angles on the sides. One time I was almost placed directly behind the only male member of our team who was 5'11. I was 5'4.

I was sick of it. I was a senior, master of the universe and high school. I had worked hard to be on this team, and why was I always in the back? I never was before. If I was that bad, please save me the embarrassment and kick me off of the team.

I was sad. My best friend and boyfriend (I know, awful. But it was true) was across the country. I was alone. I was applying to colleges and I was unsure of where I was going in life. And most importantly, I was fat. Block formations affirmed that I was too big for this team, I was too big for this uniform. I snapped.

"Why put me in this dance if we're going to be in this formation? I honestly would rather not be in it if I'm that bad."

Those twenty-six words were the only words of dissent that had ever spilled from my lips in my entire life up to that point.

Tears immediately gushed out of my head.

Promptly after, a meeting with the seniors was arranged. We were all given the opportunity to air our grievances: formations were unfair, no one was listening to the team captain, professionalism on the team was not up to snuff, etc.

I cried too much. I cried about missing my boyfriend, even though that was not the main issue, it was just the easiest way to wiggle my way out of confrontation.

Formations were here to stay. The deed was done. The meeting adjourned.

As we left the meeting, my dance teacher pulled me aside and divulged her deepest secrets to me. She expressed that she too had struggled with her weight, and she too felt like her body type wasn't accepted in dance. She could see right through me, she saw that I was suffering. She was my "friend."

But that's the worst part, even though she "understood," she was the one shaming me. She was the one punishing me for gaining weight. Years before she had celebrated my body -- my tiny, taut, starving body -- she had given me the opportunity to dance. But now she was simultaneously telling me she understood, while making comments about how my uniform did not fit.

She was pretending to be my best friend, but she was actually my worst enemy.

****************

I don't have closure. I don't know if I will anytime soon, because this was not an isolated incident. There are plenty of more incidents that I am not ready to share. But I can tell you that I have never felt more violated and torn apart by an authority figure.

It was later confirmed that my dance teacher did suspect that I had an eating disorder. But she never once addressed me about it. That one day after the meeting, I assume she opened up to me about her own struggle hoping that I would open up to her. But the problem was that I didn't see it in myself. I didn't see the eating disorder, I saw imperfection. I saw fat.

It is somewhat comforting to know that she worried about me. But her worry does not excuse the fact that she was the one pelting body shame at me. Although she had once felt discriminated in the world of dance, as many people do, she was perpetuating that discrimination. She sincerely believed that the girls who had extra weight could not "execute the moves," nor could we "whip ourselves around" due to the excess weight. I can assure you that was not and is not the case.

I was used to my body being under scrutiny. Like I said, I was a figure skater for 13 years. But the devastating part about this experience is that this was supposed to be my escape. This was my attempt to be a high school kid. In the end, it perpetuated my eating disorder, while enforcing the unrealistic standards that were being placed on my body.

My temptation is to tell you numbers. I want to tell you what I weighed, I want to tell you what size I wore -- but that's not the point. That's perpetuating a standard. That is telling you that the size I was is fat in someone's eyes. I tell you this because I wish I had had the strength to realize that I was a beautiful dancer. I could not see that because I was in a toxic environment. I was in an environment that told me I could not be good at something because of my weight. I was in an environment where when one girl would lift up her shirt, it would cause all of the girls in the room to pull up their shirts to look at themselves in the mirror. I lived in a world of comparison. I was compared to the girls around me, and I was a compared to what I had been -- anorexic. And because of that culture of comparison, I was punished.

Spring of senior year, I did not start to heal nor did I see the insanity of the situation until another teacher of mine told me I was not allowed to lose weight for a role in the musical. She weighed me and threatened to take my lead part away if I lost weight. That was the first time someone told me I did not have to lose weight to get what I wanted. That was the first time that what I could do was more important than how my body looked. That was the first time that someone told me that I was enough.

Words do not have meaning unless you give them meaning and life. My dance teacher's words may have taken years to scrape clean from my subconscious, but they are now powerless. Their corpses lay dead on the floor like a mangled mouse that the cat dragged in. I hope she learns that her words have power, as do all adults in a child's life, so that she does not leave someone damaged like she left me.

Dance is a complicated world. It's a world where your body is your canvas, and that canvas is supposed to look a certain way. And sadly, that standard doesn't just exist in dance, it's everywhere. But thankfully, the world is changing.

Which is why I leave you with this: When someone makes a comment about your body, tell them to shut up. They won't like it, but they'll never make a comment about your body to you again. Once I started doing that, I was finally allowed to learn to love my body. In the same vein, if someone makes a comment about their own body, tell them to shut up. It's getting old. No one wants to hear about how fat you think they are, nor do we want to indulge you and tell you how "pretty" you are- you should not need our validation or confirmation. If you are the one doing this, It's time to take a good, long look at yourself and say, "Why am I saying this? What is really going on here."

In the end, dance like no one is watching, and tell people to shut up when it is necessary. Even if it is your teacher. You'll probably get in trouble, but it will probably become a good story.

Originally posted on https://paulinapinsky.wordpress.com/
SOURCE: Arts Blog on The Huffington Post - Read entire story here.

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This Land Is Our Land: Philip Hyde And The American Wilderness At Smith Andersen North Gallery

This Land Is Our Land: Philip Hyde And The American Wilderness

Smith Andersen North Gallery
San Anselmo, Marin County, California

January 25 – March 1, 2014

Opening Reception: January 25, 6 – 9 pm

Grand Canyon From Point Imperial, Grand Canyon National Park, Arizona, copyright 1964 Philip Hyde.

Grand Canyon From Point Imperial, Grand Canyon National Park, Arizona, copyright 1964 Philip Hyde.

Philip Hyde defended the Western American wilderness with a camera for nearly 60 years, working with the National Audubon Society, Wilderness Society, Sierra Club, and other environmental organizations. He studied at the California School of Fine Arts, now the San Francisco Art Institute, in Ansel Adams’ ground breaking photography program with Minor White as lead instructor and Edward Weston as field mentor. Imogen Cunningham, Dorothea Lange, Lisette Model and other notable West Coast photographers were guest lecturers. This training gave Philip Hyde a solid creative foundation for evolving into one of America’s most respected landscape photographers.

Philip Hyde’s photographs helped protect the Grand Canyon, Point Reyes National Seashore, Redwood National Park, North Cascades National Park, Canyonlands, Big Sur, the Wind River Range, Sequoia National Park and many other national treasures included in  more wilderness campaigns than protected by any other photographer of his time. It all began when David Brower and Richard Leonard of the Sierra Club sent Philip Hyde on the first assignment ever for an environmental cause to Dinosaur National Monument where the canyons of the Yampa and Green Rivers were threatened by two proposed dams.

David Brower called Philip Hyde his “go-to photographer,” because when the Sierra Club needed to look closer or show the public an area’s natural beauty, Philip Hyde, young, eager and hungry, dropped everything and traveled across the West capturing sensitive lands on film, thereby becoming one of the primary illustrators of the Sierra Club Exhibit Format Series. The Sierra Club Books Series, originally conceived by Ansel Adams, Nancy Newhall and David Brower, became the public face of the fledgling modern environmental movement during the 1950s and 1960s.

Color photography became an important feature of the Sierra Club Books when color reproduction quality improved enough that David Brower and the Sierra Club publications committee encouraged Philip Hyde and Eliot Porter to envision their book projects in color to more powerfully amplify environmental campaigns. Philip Hyde and Eliot Porter were responsible for establishing color landscape photography as an art in its own right.  Philip Hyde’s compositions inspired a generation of photographers, both directly and indirectly, and his techniques are still emulated in current landscape photography today.

Philip Hyde’s images have appeared in more than 80 books and over 100 other publications, including Aperture, the New York Times, Life, National Geographic, Fortune, and Newsweek. Not only did Philip Hyde receive many awards and honors throughout his career, his photographs were shown in major museums and galleries nationwide, including the Smithsonian Institution and the Metropolitan Museum of Art.

David Leland Hyde, Philip Hyde’s son, will speak at the Smith Andersen North opening reception on January 25. David Leland Hyde is an accomplished photographer in his own right, a photo historian and ambassador of his father’s photography to the world’s best galleries, museums and collectors.

For more details see the blog post, “Major Northern California Philip Hyde Exhibition.”

This Land Is Our Land: Philip Hyde And The Wilderness West

January 25 – March 1, 2014

Opening Reception January 25, 6 – 9 pm

Presentation At 7 pm

Smith Andersen North Gallery
20 Greenfield Avenue
San Anselmo CA 94960
415 455 9733

SOURCE: Fine Art Photography Collector's Resource - Read entire story here.

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