http://clipmarks.com/clipper/balthazarus/tag/art/http://rss.clipmarks.com/clipper/balthazarus/tag/art/15Clip, tag and save information that's important to you. Bookmarks save entire pages...Clipmarks save the specific content that matters to you!en-ushttp://clipmarks.com/clipmark/9CF85163-EC19-4AB2-9034-93A6B3FAEA47/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.moreintelligentlife.com/story/banksy-brooklyn" title="http://www.moreintelligentlife.com/story/banksy-brooklyn">www.moreintelligentlife.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><H2><A title="BROOKLYN'S STREET-CENTRIC HACKTIVIST" href="http://www.moreintelligentlife.com/story/banksy-brooklyn" linkindex="14">BROOKLYN'S STREET-CENTRIC HACKTIVIST</A></H2></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/B104D345-B73B-4B06-908C-7254617D1C51.jpg" alt="Poster Boy 1.jpg" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">New York Police seem to have apprehended a clever billboard graffito who calls himself Poster Boy</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">For four seasons running, the city's greatest art crawl has been the New York subway system, courtesy of an anonymous razor-witted and -wielding graffito who calls himself Poster Boy. His flair for remixing subway advertisements into strident polemics on late capitalism has drawn an enthusiastic following.</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/911B9095-3E89-443A-AF7A-92093E6DB4AF.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">"Matisse of subway-ad mash-ups," as <EM>New York</EM> magazine <A href="http://nymag.com/arts/art/profiles/50969/" linkindex="18">approvingly dubbed</A> him</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Poster Boy's mystique has come largely from his anonymity</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;"> Perhaps best of all, his work is preciously transient: Transit Authority staff often paper over it within days, if not hours.</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/C8C2DAE9-CD53-4B4C-8514-294A03A60FF9.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Poster Boy's <A href="http://nymag.com/news/features/39319/" linkindex="28">creative underclass</A> credentials are impeccable</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">"No matter what I do to the piece," he told <EM>New York </EM>magazine, "as long as I did something to those advertisements and that saturation, it’s political. It’s anti-media, anti–established art world.”</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">appeal extends beyond <A href="http://friendswelove.com/friendswelove/HOME.html" linkindex="30">art-world circles</A>.</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div>[Video]</div></div></div></div><br><div style="margin-bottom: 40px;">Tags: <a href="http://clipmarks.com/tags/art/" rel="tag">art</a>, <a href="http://clipmarks.com/tags/politics/" rel="tag">politics</a>, <a href="http://clipmarks.com/tags/expression/" rel="tag">expression</a></div>http://www.moreintelligentlife.com/story/banksy-brooklynFri, 17 Jul 2009 01:40:43 GMThttp://clipmarks.com/clipmark/B57EAAD1-6532-488F-AF90-F8ADF7467593/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><b>clipper's remarks:</b> “How far this ‘symbolic explosion’ associated with the origins and dispersal of our species reflects a major, mutation-driven reorganisation in the cognitive capacities of the human brain — perhaps associated with a similar leap forward in the complexity of language, remains a fascinating and contentious issue.” <br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article6282102.ece" title="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article6282102.ece">entertainment.timesonline.co.uk</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><H1 class="heading">Prehistoric female figure ‘earliest piece of erotic art uncovered’ </H1></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/3D904B6C-1864-4482-BB32-922F7A6B3171.jpg" alt="The Venus of Hohle Fels" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nature.com/nature/journal/v459/n7244/abs/nature07995.html" title="http://www.nature.com/nature/journal/v459/n7244/abs/nature07995.html">www.nature.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;">Despite well over 100 years of research and debate, the origins of art remain contentious</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">In recent years, abstract depictions have been documented at southern African sites dating to <IMG alt="approx" src="http://www.nature.com/__chars/math/special/sim/black/med/base/glyph.gif" />75 kyr before present (<SPAN class="scp">bp</SPAN>)<SUP><A href="http://www.nature.com/nature/journal/v459/n7244/full/nature07995.html#B4" linkindex="20">4, </A></SUP><SUP><A href="http://www.nature.com/nature/journal/v459/n7244/full/nature07995.html#B5" linkindex="21">5</A></SUP>, and the earliest figurative art, which is often seen as an important proxy for advanced symbolic communication, has been documented in Europe as dating to between 30 and 40 kyr <SPAN class="scp">bp</SPAN></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">discovery of a female mammoth-ivory figurine</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">This figurine was produced at least 35,000 calendar years ago, making it one of the oldest known examples of figurative art</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">radically changes our views of the context and meaning of the earliest Palaeolithic art</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article6282102.ece" title="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article6282102.ece">entertainment.timesonline.co.uk</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><P> The female figurine, which stands 6cm (2.4in) tall, has outsized breasts, huge buttocks, exaggerated genitals and open legs. </P></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">“It is clear that the sexually symbolic dimension in European, and indeed worldwide, art has a long ancestry in the evolution of our species</div></div></div></div><br><div style="margin-bottom: 40px;"></div>http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article6282102.eceThu, 14 May 2009 08:15:17 GMThttp://clipmarks.com/clipmark/2C0A4B00-C5A5-40C4-84FB-233095067213/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><b>clipper's remarks:</b> "The Brücke approach to art lacked the structural clarity of Cubism or maybe any structure at all. But what it lacked in form it more than made up for in freedom and attitude. "<br/>Beautiful art. <br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/2009/02/27/arts/design/27bruc.html#" title="http://www.nytimes.com/2009/02/27/arts/design/27bruc.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><NYT_HEADLINE type=" " version="1.0"> Guys Who Put Art in Party Animal </NYT_HEADLINE></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;"><P> The original bad boys of 20th-century German art got together in June of 1905. They were nobodies: four young, restless architecture students in Dresden, the jewel of the Elbe.</P></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Partly inspired by the city’s many bridges, they called themselves the Brücke, or bridge</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">in the words of their unusually open-ended manifesto. They liked echoing Nietzsche, who described man as “a rope, fastened between animal and Superman. ... a bridge and not a goal.” </div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">By the time the Brücke disbanded, in 1913, it had revived a rawness of feeling, form and execution</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_index.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_index.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/BCDCA68F-EC44-442B-B3C5-C8582369B2D9.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_2.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_2.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/1382A169-A28E-426A-B322-15072F463BCA.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_3.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_3.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;">The show at the Neue Galerie concentrates almost exclusively on the group’s leading, longest-serving members: Erich Heckel, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff and Max Pechstein.</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/A466A6F4-D127-4F01-A21F-AB81D23576E1.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_4.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_4.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;">Kirchner</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/7CA14050-EA79-454E-B35E-8A2ABF9A18DC.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_5.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_5.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/576DD7DA-7D99-4A32-979C-D5A7A07D1DF3.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_6.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_6.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/AF67DC9C-E399-4B1E-BB1F-0386A9479D46.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/2009/02/27/arts/design/27bruc.html#" title="http://www.nytimes.com/2009/02/27/arts/design/27bruc.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;">The Brücke artists were among the Peter Pans of Modernism</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">their dreams had not yet been trammeled by World War I</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_7.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_7.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/A535607A-6DD7-4AE9-88B4-D493E6F5E235.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_8.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_8.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/1FC13D84-9476-4358-9039-DE08D1971BEF.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_9.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_9.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/7B3926F3-11E5-4A05-AB76-32D4C44BC15F.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_10.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_10.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/23DCE0B1-717E-4FBB-8D91-67438E4D6B36.jpg" alt="" /><br /></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_11.html#" title="http://www.nytimes.com/slideshow/2009/02/27/arts/0227-BRUC_11.html#">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/F16125CD-0610-45E7-A9C4-B4A616C21FDA.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">rawness co-exists with nuance and distortion with a real sense of gesture and emotion</div></div></div></div><br><div style="margin-bottom: 40px;"></div>http://www.nytimes.com/2009/02/27/arts/design/27bruc.html#Thu, 05 Mar 2009 08:56:46 GMThttp://clipmarks.com/clipmark/44FB22D5-D75A-4B05-B658-2CE491026D1E/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.edge.org/3rd_culture/dutton09/dutton09_index.html" title="http://www.edge.org/3rd_culture/dutton09/dutton09_index.html">www.edge.org</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><FONT face="Verdana, Arial, Helvetica, sans-serif" size="2">The human personality—including those aspects of it that are imaginative, expressive, and creative—cries out for a Darwinian explanation. If we're going to treat aspects of the personality, including the aesthetic expression, as adaptations, we've got to do it in terms of three factors. </FONT></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Pleasure</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">universality</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">spontaneous development</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">We see them in the cross-cultural realities of music, the universality of storytelling, as well as things like food tastes, erotic interests, pet-keeping, sports interests, our fascination with puzzle solving, gossip</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">ask ourselves why the arts are universal. The notion that art is purely socially constructed</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">has to make way for something more complex. </div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Human life is lived in a middle position between our genetic determinants on the one hand and culture on the other</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">It's out of that that human freedom emerges</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">artistic works</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">are the ultimate expressions of freedom</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">It’s a great question, What is art?</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Will anyone be interested in seeing them in a hundred years?</div></div></div></div><br><div style="margin-bottom: 40px;">Tags: <a href="http://clipmarks.com/tags/art/" rel="tag">art</a>, <a href="http://clipmarks.com/tags/philosophy/" rel="tag">philosophy</a>, <a href="http://clipmarks.com/tags/evolution/" rel="tag">evolution</a></div>http://www.edge.org/3rd_culture/dutton09/dutton09_index.htmlWed, 25 Feb 2009 08:43:47 GMThttp://clipmarks.com/clipmark/5C3497BA-0817-4DE2-8313-26683FD07B19/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><b>clipper's remarks:</b> "As if to underline the importance of the models, a show called "Figures of the body, an anatomy lesson at the Beaux Arts" has just opened at the Ecole Nationale des Beaux Arts," the top fine arts school. " <br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://timescorrespondents.typepad.com/charles_bremner/2008/12/paris-artists-m.html" title="http://timescorrespondents.typepad.com/charles_bremner/2008/12/paris-artists-m.html">timescorrespondents.typepad.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><H3 class="entry-header">Paris artists' models strike for pay and pride </H3></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/5D3E2AD4-7C3B-4036-8B9D-E4D20DCD5F5D.jpg" alt="Manif_modeles_dartistes1" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Paris has just witnessed an odd demonstration. The life models who pose at the city's<EM> beaux arts</EM> schools went on strike</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">despite freezing temperatures, demonstrated nude outside the municipal culture department</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">The 15 models, supported by teachers and trade union officials, were protesting against the end of the tradition of <EM>le cornet</EM> -- a rolled up paper in which generations of students have left a tip after their session</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">They are also demanding official recognition of a craft which they say is central to European art, with its devotion to the human form.</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;"><EM>"Without Gabrielle, who would Renoir have been?.</EM></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/ED6F7717-6BB7-4104-8E1E-AD5B07D54CF5.jpg" alt="Matisse_nu1" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">The city banned the tips because students were complaining and because it's against French law to tip public servants, which is what the models technically are</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Christophe Girard, Deputy-Mayor in charge of culture, was sympathetic to the demonstrators</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">He posed for pocket money when he was an art student in Angers.</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.artactu.com/figures-du-corps-une-lecon-d-anatomie-aux-beaux-arts-dans-ses-galeries-d-exposition-article00188.html" title="http://www.artactu.com/figures-du-corps-une-lecon-d-anatomie-aux-beaux-arts-dans-ses-galeries-d-exposition-article00188.html">www.artactu.com</a></span></div><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/5C45A9FA-DD80-41EE-AAF5-110AEA6222FB.jpg" alt="JPG - 12.2 ko" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/E7C83B40-964D-4D09-BF15-43ACD29FC3B6.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/FB2025B2-6901-46AB-A398-A002219A86DB.jpg" alt="Les femmes dans les arts d'Afrique" /><br /></div></div></div><br><div style="margin-bottom: 40px;">Tags: <a href="http://clipmarks.com/tags/art/" rel="tag">art</a>, <a href="http://clipmarks.com/tags/profession/" rel="tag">profession</a>, <a href="http://clipmarks.com/tags/model/" rel="tag">model</a></div>http://timescorrespondents.typepad.com/charles_bremner/2008/12/paris-artists-m.htmlSun, 21 Dec 2008 10:59:10 GMThttp://clipmarks.com/clipmark/A1DA0521-7D86-4473-8F71-DD702888D998/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://blogs.discovermagazine.com/discoblog/" title="http://blogs.discovermagazine.com/discoblog/">blogs.discovermagazine.com</a></span></div><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/47B5C4BD-2303-42EA-AD19-44BF5B7D997E.jpg" alt="homage-to-francis-bacon-triptych-1-1-c-nasser-azam-2008.jpg" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;"><H2><A title="Permanent Link to Art in Space: Painting Created in Zero Gravity Sells for a Small Fortune" href="http://blogs.discovermagazine.com/discoblog/2008/11/18/art-in-space-painting-created-in-zero-gravity-sells-for-a-small-fortune/" rel="bookmark">Art in Space: Painting Created in Zero Gravity Sells for a Small Fortune</A></H2></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;"><IMG alt=homage-to-francis-bacon-triptych-1-1-c-nasser-azam-2008.jpg src="http://blogs.discovermagazine.com/discoblog/files/2008/11/homage-to-francis-bacon-triptych-1-1-c-nasser-azam-2008.jpg" align=left>British artist <A href="http://www.azam.com/">Nasser Azam</A> had a unique desire: to create a piece of art in zero G</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">To create his zero-gravity masterpiece, Azam and two other artists flew 23,000 feet into the air aboard an ILYUSHIN 76 MDK parabolic aircraft</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Azam had to consider most was how losing gravity would affect his ability to paint. First, Azam drew disembodied figures inspired by <A href="http://www.time.com/time/magazine/article/0,9171,1844196,00.html">Francis Bacon</A> </div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Azam filled in the pre-drawn figures using acrylic paint</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">But he had to do any finishing touches with oil pastels. Otherwise, the paint would have floated in the air.</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">The so-called “Life in Space” project required training at the Russian cosmonaut facility Star City</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Nicknamed the <A href="http://www.usatoday.com/tech/science/space/2008-07-08-space-artists-vomit-comet_N.htm">“vomit comet”</A> ride, the parabolic flight made everyone lose their breakfast</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.youtube.com/watch?v=SM__xxMtGu8" title="http://www.youtube.com/watch?v=SM__xxMtGu8">www.youtube.com</a></span></div><div style="padding: 10px;"><div>[Video]</div></div></div></div><br><div style="margin-bottom: 40px;">Tags: <a href="http://clipmarks.com/tags/space/" rel="tag">space</a>, <a href="http://clipmarks.com/tags/art/" rel="tag">art</a></div>http://blogs.discovermagazine.com/discoblog/Wed, 19 Nov 2008 09:54:39 GMThttp://clipmarks.com/clipmark/55511655-36A7-4EA0-A824-72C753437303/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><b>clipper's remarks:</b> “Art integrates the senses,” he said. “Science takes the senses apart and analyzes. The idea of Empac is to bridge the gap between the digital world of data and the physical world of our senses, which is where we make sense of things and decide what things mean.”<br/><br/>Sounds reasonable <img src="http://clipmarks.com/images/icons/smilies/wink.gif" alt="" /> <br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/2008/09/23/science/23troy.html?ref=science" title="http://www.nytimes.com/2008/09/23/science/23troy.html?ref=science">www.nytimes.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><H1><NYT_HEADLINE type=" " version="1.0"></NYT_HEADLINE>Art and Science, Virtual and Real, Under One Big Roof </NYT_HEADLINE><//NYT_HEADLINE></H1></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/77B9FB94-08A5-4462-9BDA-F21359B1B16F.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Eight years and $200 million in the making, the Experimental Media and Performing Arts Center, or <A title="Empac’s Web site" href="http://empac.rpi.edu/">Empac</A>, resembles an enormous 1950s-era television set. </div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">21st-century high-tech dreams dedicated to the marriage of art and science as it has never been done before</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Within its walls, the designers say, scientists can immerse themselves in data and fly through a breaking wave or inspect the kinks in a DNA molecule</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">artists can participate in virtual concerts with colleagues in different parts of the world or send spectators on trips through imaginary landscapes</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">architects can ponder their creations from the inside before a single brick or two-by-four has been put in place</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">gala of performances including classical music, virtual reality rides, symposiums and celebrations</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">dream of eventually using the new center to create a version of the “Star Trek” holodeck where humans can interact with life-size “synthetic creatures” who live only in a computer</div></div></div></div><br><div style="margin-bottom: 40px;">Tags: <a href="http://clipmarks.com/tags/science/" rel="tag">science</a>, <a href="http://clipmarks.com/tags/art/" rel="tag">art</a>, <a href="http://clipmarks.com/tags/virtual/" rel="tag">virtual</a></div>http://www.nytimes.com/2008/09/23/science/23troy.html?ref=scienceTue, 23 Sep 2008 11:07:27 GMThttp://clipmarks.com/clipmark/B836F624-D835-469C-BEC5-EE4369ACFB25/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><b>clipper's remarks:</b> He seems Indiana Jones <img src="http://clipmarks.com/images/icons/smilies/happy.gif?r=2" style="margin-bottom: -4px;" alt="" /> but with an academic angle... <br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/2008/09/09/science/09rock.html?_r=1&ref=science&oref=slogin" title="http://www.nytimes.com/2008/09/09/science/09rock.html?_r=1&ref=science&oref=slogin">www.nytimes.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;"><H1><NYT_HEADLINE type=" " version="1.0"></NYT_HEADLINE>Down Canyons and Up Cliffs, Pursuing Southwest’s Ancient Art </NYT_HEADLINE><//NYT_HEADLINE></H1></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/E7864264-3985-424A-B9CD-C8D029AAAF3B.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;"><P>In his mid-60s, Ekkehart Malotki, a retired linguistics professor, willingly dangled from a rope tied to a car that was backed to the edge of a cliff. A half-dozen times, he descended with his rope, photographed the cliff face and climbed back up. </P></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;"><P>He rappels into canyons, pushes his camera gear in inner tubes across rivers, and clambers up cliffs. And everywhere he looks, he sees a landscape stamped with rock art. </P></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/348C16E0-B8FF-4DA9-8C72-EECD3E7D358D.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">He has taken thousands of photographs, and he keeps his secret G.P.S. coordinates in files that line his office walls</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/EAF1C7F7-61FF-4853-B317-5124A5E3F0E1.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">designs called phosphenes, which are as fundamental to art as time is to language. He said the same 15 abstract geometric constants appear globally in art created as early as 300,000 years ago</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">They are grids, zigzags and patterns of dots</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">earliest rock art was linked with human survival</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">I hope to also influence people to respect it</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/D01CCD61-12E5-4DED-8E46-A9ACB773E512.jpg" alt="" /><br /></div></div></div><br><div style="margin-bottom: 40px;">Tags: <a href="http://clipmarks.com/tags/art/" rel="tag">art</a>, <a href="http://clipmarks.com/tags/rock/" rel="tag">rock</a>, <a href="http://clipmarks.com/tags/history/" rel="tag">history</a></div>http://www.nytimes.com/2008/09/09/science/09rock.html?_r=1&ref=science&oref=sloginSat, 13 Sep 2008 08:56:43 GMThttp://clipmarks.com/clipmark/21F6227E-3364-450D-A0C9-0E3969CA96E3/<b>clipped by:</b> <a href="http://clipmarks.com/clipper/balthazarus/">balthazarus</a><br><b>clipper's remarks:</b> It certainly does not leave you indifferent... <br><div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"><div style="background-color:"><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_index.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_index.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><div style="text-align:left;">Public Sculpture Steps Up</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Over the past 15 years public sculpture has become one of contemporary art’s more exciting areas of endeavor and certainly its most dramatically improved one. <BR></div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/48DB718B-A73A-4EBA-9517-1271E8A18B5A.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Mark Wallinger’s 1999 “Ecce Homo,” a life-size figure of Jesus in London</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_2.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_2.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/C3C9B825-94AB-42FB-B551-026D3218759A.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">The Kapoor Bean</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">reflective surfaces into an enveloping experience that is both humorous and almost sublime</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_3.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_3.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/6C0B7173-95C0-4B22-9158-888B74D68E86.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">No one has been more important to the revival of public art than Jeff Koons</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_4.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_4.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/1985BE54-2581-42F7-BBB9-EBC072D3A69F.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">“Puppy” (1992) by Jeff Koons at the Guggenheim Museum in Bilbao, Spain</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_5.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_5.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/CB3A66BB-A857-4FA8-95B7-4B447B719FAA.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">“Puppy” was intensely loveable, triggering a laugh-out-loud visual delight that expanded your sense of the human capacity for joy</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_6.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_6.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/DACB1683-D46C-4B5E-A456-BAA980204828.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Richard Serra’s “Tilted Arc”</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_7.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_7.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/686FB7FD-CFBD-4503-887C-B0405E4EEAC9.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Richard Serra’s sculptures at the Museum of Modern Art in 2007.</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_8.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_8.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content9.clipmarks.com/image_cache/balthazarus/512/CFFA3703-06CF-4D03-8FB1-966B6FE425D7.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">prim yet erotic “Balloon Dog” sculptures</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_9.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_9.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content6.clipmarks.com/image_cache/balthazarus/512/D2D6ACAF-4D42-4F2C-935A-4A4D84DA6D76.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">you are drawn toward them by their familiarity only to realize that they are unprecedented</div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_10.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_10.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content7.clipmarks.com/image_cache/balthazarus/512/AFA0B37B-9337-4FDE-9E08-624CEA277844.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">“Cracked Egg (Magenta),” </div></div><div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"><span style="color:#FFFFFF;font-weight:bold;">Clip Source: <a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_11.html" title="http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_11.html">www.nytimes.com</a></span></div><div style="padding: 10px;"><img src="http://content8.clipmarks.com/image_cache/balthazarus/512/2225FABC-1749-43C0-BBE5-8DAE1C889434.jpg" alt="" /><br /></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">Koons’s “Rabbit” was part of the Macy's Thanksgiving day parade in 2007</div></div><hr size="2" color="#666666" /><div style="padding: 10px;"><div style="text-align:left;">see ourselves in his alluring reflective surfaces</div></div></div></div><br><div style="margin-bottom: 40px;">Tags: <a href="http://clipmarks.com/tags/design/" rel="tag">design</a>, <a href="http://clipmarks.com/tags/art/" rel="tag">art</a>, <a href="http://clipmarks.com/tags/koons/" rel="tag">koons</a></div>http://www.nytimes.com/slideshow/2008/08/24/arts/0824-KOONS_index.htmlSat, 30 Aug 2008 10:16:55 GMT