Category Archives: 516 Art

How to Find Your Creative Niche

Have you always had a sense of creativity and curiosity? Whether your job requires creativity or you’re simply aspiring to develop your talents as a hobby or stress outlet, there are a myriad of options to inspire your creative juices. Follow these recommendations from the professionals and you’ll soon be on your way to finding your creative outlet and enjoying endless hours of inspiration.

Art is everywhere. If you’re fortunate enough to live in or near a large urban area the opportunities for enjoying art are truly only limited by your imagination. From museums to performing arts to architecture and street performances, consider spending several hours over the weekend exploring venues unfamiliar to you. Local universities are a tremendous source of art and creativity. Consider perusing the course offerings at your local university for art exploration. Many universities offer emeritus courses or the opportunity to simply take non-credit courses. Art museums offer everything from beginning painting classes to art appreciation and art history.

Don’t underestimate the value and creativity of visual and graphic arts found online every day. Take advantage of the awesome deals offered by Groupon coupons and check out the creative graphics available on a myriad of game offerings from Origin. While the technical side of online gaming is complex and intricate, a closer look at the graphics will reveal the same amount of energy and talent.

Exposing yourself to various art forms will help you decide which genres are most appealing. Don’t underestimate the value of music as a creative outlet. Have you always wanted to learn to play the piano or join a rock band? Check out the options for renting instruments and the multitude of online classes available for budding musicians. Regardless of your musical background, remind yourself that every accomplished musician also had to pick up their instrument for the first time.

Finally, enlist a friend, mentor or family member to join you exploring the various venues and art genres available in your community. You might well find that the process of exploring and enjoying art is all the inspiration you need.

An Artist’s Response to Climate Change

Lorenzo Quinn’s large art installation titled Support is in response to the planet’s ever-changing climate. The subject — two massive hands helping hold Venice’s Ca’ Sagredo Hotel — plays with the duality of the human experience, how we’re equally capable of creativity and destruction.

The Need for Support

Represented by Halcyon Gallery, Support marks a first for Venice. Never before has an installation been installed out of the Grand Canal itself.

“The hand holds so much power,” says Quinn, “the power to love, to hate, to create and to destroy.”

Support is both a love letter to Venice and a cry for help. “Venice is a floating art city that has inspired cultures for centuries. But to continue to do so, it needs the support of our generation and future ones, because it is threatened by climate change and time decay.”


Your Painting Needs an Old Master’s Boost: Glazing

Color Choices for Glazes That Make Your Painting Glow

You have the power to make your paintings glow. With this glazing tutorial, Kent Lovelace breaks down every section of a painting and discusses the ways and means to use glazing (or not), including what colors to dip your brush into first.

The painting Dolmen (below) by Kent depicts an area in rural France that’s believed to be the quarry site for a prehistoric dolmen (tomb) found five kilometers up the valley. Below he describes his painting process for this piece, particularly the glazing.

Get inspired by how light-filled Kent’s artwork appears. And remember that you can create the same look and feel for every one of your paintings with Glazing by Michael Wilcox. It is the leading resource for the methods of a technique that goes all the way back to the Renaissance. Imagine! You could get the same “glow” that the Renaissance’s Old Masters are known for! Enjoy!


I paint in oil on a copper support, which gives my finished paintings a luminescence or glow. After sanding the copper support, I create a monochomatic underpainting of the land and plant forms (but not the sky) with Old Holland neutral tint.

Painting with old, stiff brushes allows the copper to come forward. You can see the directional marks in the foreground of Dolmen. I use a razor blade or rubber scraper when I want especially clean marks.

Color Glazing

Once the underpainting is finished, the color glazing begins. For this I use transparent or translucent paints that let hints of copper shine through. The paint films are very thin. Even if you can’t see the copper, you can feel its presence.

Glazing Tree Forms

I began glazing the tree forms of Dolmen primarily with umber green, yellow ochre and cobalt blue. In much of the painting, I utilized the purple-ish underpainting for darks and subtle texture.

I created the light on the trunks by using the transparent nature of both Liquin and Cremnitz white over the warm tone of the copper and the darker neutral tint of the underpainting. I made highlights and shadows with cobalt and manganese violet reddish.

Glazing Upper Land Forms

For the upper elements of the lands forms, I glazed the underpainting with yellow ochre, umber green, violet and Cremnitz white, I chose a mixture of yellow ochre, Cremnitz white and Italian brown pink lake for the area beneath the outcrop.

In the foreground, I glazed with transparent Italian brown pink lake over the textured brushwork of the underpainting.

Glazing the Sky Area

For the sky area, I used cobalt blue, blue violet, manganese violet reddish and Cremnitz white. I painted the sky directly on the copper without an underpainting,

As Istanbul Galleries Face Manifold Challenges, Dealers Band Together

There are big changes afoot in the Turkish art scene. This week, as the city of Istanbul readies for the opening of the 15th Istanbul Biennial, and as Contemporary Istanbul—the city’s main art fair—is about to open one of its most international editions to date, a group of local dealers are launching a new art hub in the neighborhood of Karakoy. The collaborative opening points to a shift in the local scene: the political instability has left its mark on the finances and visibility of many mid-size galleries, and so the global trend towards finding models of working together is here translated into deeply involved synergies.

“About a year ago, a few dealers started coming together to talk about our needs, and began to standardize operations. We tried to stay closer to each other,” gallerist Jade Yesim Turanli, who runs the Istanbul- and London-based gallery Pi Artworks, told artnet News. “We all share the same collector base, and that is new. I’ve had my gallery in Istanbul for 20 years and this is a development of the last five years. We’ve finally figured out that being together is more valuable for all of us.”

Pi Artworks, as well as three other contemporary art galleries including Galeri Nev Istanbul, artSümer, and Mixer have banded together to open under one roof in a newly constructed building in Karakoy. Another gallery, Sanatorium, is moving to an address across the street.

“The political situation created the necessity,” Turanli said. “Foot traffic and international audience both dropped last year. If an art patron is coming to Istanbul for a business trip, previously they’d maybe stay a week, but now it’s just in and out. It’s important that if they have time to see one place, it could be our complex.”

The new hub is in fact a direct result of the current situation in Turkey in more than one way. The building was originally planned as a hotel, but the tourist industry has also suffered a blow, and the art dealers were able to take over the construction project that a hotel developer wasn’t able to finish.

The Turkish art scene has known better days. Neighborhoods like Beyoglu and Nisantasi are considered as the city’s oldest gallery districts, but between 2008 and 2012, following the opening of the museum Istanbul Modern, a slew of galleries opened in the area of Tophane.

“We founded Tophane Artwalk, created a map and organized open Sundays. On one open Sunday, I remember around 350 visitors. It was a great atmosphere,” Asli Sümer, of artSümer, told artnet News.

But then came the violent attacks on the galleries in Tophane by angry mobs in 2010. By 2012, many gallerists have moved away or closed down entirely.

The echoes of these attacks still resonate. In the new multi-level building, the ground floor is going to be a café as none of the dealers wanted to be visible and accessible from the street, Turanli explained.

“We have to be sensitive to the general audience, and I think some shows could work better in an environment that we can control. There have not been any incidents [in Karakoy] but we feel more secure like this,” she added.

The synergies between the galleries operating the building are also possible thanks to the fact that their programs are complementary rather than competitive. artSümer, for example, focuses on emerging artists, most of whom had their first gallery show with Sümer. (The gallery represents Gözde İlkin, a young artist who is part of the 15th Istanbul Biennial.)

Pi Artworks, on the other hand, works with mid-career artists, while Mixer specialize in editions and prints.

But besides sharing an address and patrons, Sümer points out that other, deeper synergies are possible, citing models like the highly popular gallery swap program, Condo. “Collaboration—local or international—is key in developing new audiences and I think everyone is aware of this now,” she told artnet News. “Gallerists in Istanbul who decide to close their spaces but continue representing their artists is also a strong possibility.”

“I think this is important because this keeps the art world sustainable; as long as the artist have space to show work they can keep creating.”

Art Industry News: Ann Freedman Settles Final Lawsuit Over Knoedler Forgery Scandal

Art Industry News is a daily digest of the most consequential developments coming out of the art world and art market. Here’s what you need to know this Monday, September 11.


The Story Behind That Stolen de Kooning – More than 30 years after the painting was cut from its frame at the University of Arizona Museum of Art, authorities are investigating how Willem de Kooning’s newly recovered Woman-Ochre (1955) ended up in the bedroom of a now-deceased New Mexico couple. A leading theory: They stole it simply to enjoy it. (New York Times)

Darren Aronofsky in Hot Water Over Mural  The mother! director has apologized after an advertising agency, Apparition Media, painted over a well-known Sydney mural with an ad for his film without the proper authority. Aronofsky has said he is “embarrassed and furious” and will pay to replace the mural. (BBC)

Ann Freedman Settles Final Lawsuit – The embattled former Knoedler director settled the last of 10 lawsuits against her over the $70 million forgery ring that rocked the art world. The lawsuit was brought by California collector Frances Hamilton White over a fake Pollock. Knoedler and its parent company are still facing two ongoing lawsuits. (The Art Newspaper)

Sterling Ruby Discusses His Latest for Calvin Klein – The art world descended on Fashion Week to see Sterling Ruby’s latest collaboration with designer Raf Simons: a mobile sculpture, Sophomore (2017), created for the designer’s spring 2018 horror-themed fashion show. “Three weeks ago, Raf said, ‘You think you can do it? Can we repurpose the mobile but integrate horror?’” Ruby recalls. (ARTnews)


Sir Howard Hodgkin’s Collection Hits the Block – More than 350 works from the little-known collection of the late painter will be sold by the artist’s partner, Antony Peattie, at Sotheby’s. Proceeds from the October 24 sale of works by Patrick Caulfield, Sir Peter Blake, and Bhupen Khakhar will be used to execute the painter’s final wishes, “in which he left a lot of money to a lot of people,” Peattie says. (BBC)

Following Hurricane Damage, Art Fairs Cancel – In light of damage caused by Hurricanes Harvey and Irma, ArtMRKT Productions has suspended the 2017 editions of both the Texas Contemporary Art Fair in Houston and the Miami Project fair. Both are expected to resume as normal next year. (Glasstire)

Tala Madani Signs With 303 Gallery – New York’s 303 Gallery now represents the LA-based artist, known for her provocative paintings and video works. Madani had a big year in New York, with works on view at the Museum of Modern Art and the Whitney Biennial. (Press release)

La Biennale Paris Relaunches – The prestigious art fair, which is underway at the Grand Palais through September 17, is evolving under new American management. Formerly known as the Biennale des Antiquaires, the event will now be held annually in an effort to better compete in the crowded art marketplace.

Museums Have Been Spared Its Devastating Wrath

After battering the Caribbean and Florida last week and over the weekend, Hurricane Irma has been downgraded to a tropical storm, as it now moves inland toward parts of Georgia, Alabama, Tennessee, and the Carolinas. Despite the terrifying strength of the storm—which has reportedly killed 40 people and left millions without power—art museums and organizations in Florida seem to have escaped relatively unscathed, early reports suggest.

Irma first made landfall in the continental US on Sunday morning as a category four hurricane in the Florida Keys. Museums in the Keys include the Key West Art & Historical Society, the Ernest Hemingway Home & Museum, and the Key West outpost of Ripley’s Believe It or Not! Odditorium.

“Reports are very, very preliminary,” Key West Art & Historical Society executive director Michael F. Gieda told artnet News, noting that it was not yet safe to conduct a full inspection of the property. “Overall, the society’s museums appear to be okay and intact. Minimal damages to the buildings with the exception of some damaged windows.… Power is out so climate control is an issue.”

The storm made a second landfall later Sunday afternoon, on Marco Island, off the coast of Naples in Collier County. Irma then moved north toward Tampa, home to the Salvador Dalí Museum and the Tampa Museum of Art.

In an email, chief marketing officer Kathy Greif told artnet News that the Dalí Museum’s building had not been damaged. “As you can imagine, we had some minor damage to our gardens—some tall cypress trees were knocked down,” she wrote, noting that they will soon replant their fallen Wish Tree, full of wishes written on visitors’ admission wristbands. “The entire Tampa Bay area was really lucky to be spared; it could have been much worse.”

The Tampa Museum of Art plans to reopen Wednesday, with executive director Michael A. Tomor telling artnet News in an email that “the museum and our immediate downtown region never saw a power outage and the parks and properties surrounding the museum were spared downed trees and structural damages.”

Collier Country Museums has announced that all local institutions, including the Marco Island Historical Society, will be closed Monday and Tuesday, instructing the public to follow the county emergency website for additional updates. Artis—Naples, home of the Baker Museum and the Naples Philharmonic, also closed in advance of the storm.

“Initial assessments are that Irma was kind to us, and we are grateful for all of the efforts made in our pre-storm preparations,” Artis—Naples CEO Kathleen van Bergen told artnet News in an email, noting that artist Arik Levy was able to personally oversee precautions taken to protect the work in his solo show, which opened September 5. “As far as we can tell after an initial assessment, the five buildings on our campus fared well. Until full power is restored, a complete inspection is not possible, nor is a return to our scheduled cultural activities.”

The storm was initially forecast to make landfall further east, which would have placed Miami directly in the path of the storm. Despite avoiding a direct hit, Miami was still subject to heavy flooding, particularly in the downtown Brickell neighborhood, where the streets became rushing rivers.

There was also flooding in the basement of the Vizcaya Museum and Gardens, a historic mansion in Coconut Grove. “The good news is there are no art collections stored” in the affected areas, museum spokesperson Luis Espinoza told the Miami Herald.

As Hurricane Irma Moves Toward Florida, Museums Shutter Up and Prepare for the Worst

Ahead of the storm’s arrival in the US, artnet News checked in with the Bass Museum of Art, ICA Miami, the Pérez Art Museum Miami (PAMM), and the Norton Museum of Art in West Palm Beach, all of which took precautions and closed their doors. The city and its arts institutions will play host to the international art world come December, during the annual Art Basel in Miami Beach art fair, the centerpiece of Miami Art Week.

“PAMM sustained no damage to the building, and suffered no flooding,” the museum’s associate director of marketing, Alexa Ferra, told artnet News in an email, noting that all PAMM employees were safe following the storm. “The roof held well, and there was no problem with the hurricane-resistant windows.  Surge from Biscayne Bay did not reach the building, even at high tide.”

“Safety and security are top priorities at PAMM, and storm preparation is something we focus on year-round,” added CFO Mark Rosenblum. “Every spring, we fine tune our policies and procedures, and implement training so we are ready for the hurricane season.”

Down in Miami Beach, Bass director Silvia Karman Cubiñá reports that “the museum is in the process of assessing the extent of Irma’s impact. We are thankful that our staff is safe and accounted for and our thoughts are with those who are still battling the aftermath of the storm.”

Although Miami appears to have escaped the worst of the devastation—as of press time the Norton and ICA had not returned artnet News’s request for comment—the hurricane carved a path of destruction earlier in the week, striking parts of the northeast Caribbean as a category five storm, the strongest ever seen in the Atlantic.

Irma ravaged the Bahamas, where the National Art Gallery of the Bahamasplans to reopen on Tuesday after it somehow “weathered the storm without incident,” according to chief curator Holly Bynoe.

In a turn of good fortune, the storm’s eye ultimately bypassed museum’s New Providence location, sparing it the worst. “Our national collection and all of our assets are in good order and good standing,” Bynoe wrote in an email to artnet News. “I am hoping that other institutions in the Dominican Republic, Cuba and Florida, fared as well as we did.”

Others local institutions include the Antiquities, Monuments and Museum Corporation National Museum of the Bahamas, the Heritage Museum of the Bahamas, and the Junkanoo World Museum & Arts Centre Ltd. Whether they fared as well as NAGB is still uncertain. Two of the museums could not be reached for comment, and the third did not immediately respond to an inquiry.

Leading Art Historians Flocked to Zimbabwe for a Landmark Conference

As the market for contemporary African art continues to grow apace, the National Gallery of Zimbabwe (NGZ) is bringing together more than 200 artists, curators, gallerists, academics, and affiliated figures from throughout the world for the second iteration of the International Conference on African Cultures (ICAC). Taking place in the country’s capital of Harare, the conference runs September 11–13, and is billed as part of a Southern Africa art tour—sandwiched between the Johannesburg Art Fair and the opening of the Zeitz Museum of Contemporary African Art (MOCAA) in Cape Town.

The ICAC takes up a torch briefly lit in 1962, when the country hosted the first edition of the conference, drawing international figures including Alfred Barr, then director of New York’s Museum of Modern Art; Dadist Tristan Tzara; and Roland Penrose, co-founder of London’s Institute of Contemporary Arts to participate in the first-ever international forum on African art in the region.

Organized by Frank McEwen, British art historian and founding director of NGZ, the original conference was supposed to be the first of many. But, as NGZ chief curator and 2017 conference organizer Raphael Chikukwa told artnet News, “That was [during] the peak of the nationalist uprising and the revolution in the country.” Following years of conflict, the country achieved independence from Britain in 1980. ICAC never resurfaced during this period, but its vision continued abroad. “You might say that what happened in Zimbabwe inspired the World Festival of Negro Arts that happened in Senegal in 1966, as well as the first Triennial Symposium of African Art in Virginia in 1968,” Chikukwa explained.

The theme of this year’s conference is “Mapping the Future,” and in addition to hosting an array of panel discussions, ICAC will feature an exhibitions program, Harare’s inaugural Art Week (a showcase of the top galleries and art spaces in the city), and a group visit to the 11th-century Shona ruins known as the Great Zimbabwe. “Our push for this conference is to help the corporations of Zimbabwe to understand the role that culture plays in a society,” says Chikukwa. “We want them to see that people coming from abroad to see the culture of Zimbabwe brings something to the table for everyone.”

Panel topics range from market sustainability and new media conservation to issues of migration, urbanism, and repatriation. Participants include Bisi Silva, curator and founder of the Center for Contemporary Art in Lagos; eminent scholar Molefi Kete Asante; and contemporary artist Dineo Seshee Bopape, among many others.

The Problem Solving Stage in Art

Meet Artist Drew Price

The September Artist of the Month, Drew Price, loves problem solving. After placing in our student competition in the portrait category, he tried his hand at the Annual Art Competition. That’s where we saw his hauntingly unique painting Battle of the Bee and the Fly.

Read on for an inside look into how Price works with his problems instead of against them.

From Doodling to Graduating

I didn’t develop a serious interest in art until later in life. One day I picked up a pen, started doodling and realized how much I had always enjoyed creating and making images.

This random moment drove me to pursue art more seriously. So I enrolled in the Academy of Art University in San Francisco and graduated with my BFA in the fall of 2015.

Giving Face to Meaning

My inspiration for Battle of the Bee and the Fly was how meaning is derived. I started this painting devoid of any preconceived ideas of what the painting was going to look like or what the subject matter and meaning would be.

Rather than consciously trying to come up with what to paint, I allowed the imagery to surface through a stream-of-consciousness type process. It was really exciting to work this way, and each stage presented me with new sets of problems to be solved. This made it easy to stay engaged the entire time.

Conversations and Problem Solving

The “study stages” of a painting, where the majority of problem solving takes place, is my favorite part of the process.

I allowed the exploration and problem solving to unfold directly on the canvas as part of the final painting. This way of working felt alive and like a conversation, rather than just a dictation of ideas.

Work Hard As Hell

Every successful artist I’ve met has a different perspective on things. But the common thread among them all was that the key to success boiled down to working hard as hell, developing thick skin and remaining tenacious. This is the best advice I have received, and the best that I can give.


Editors’ Picks: The things to See in New York This Week

Each week, we search New York City for the most exciting, and thought-provoking, shows, screenings, and events. See them below.

1. La Deliciosa Show: Poetry Readings on the High Line
Contemporary poets Steven Alvarez, Marie Buck, Karen Emmerich, Nicole Sealey, and Javier Zamora will read their work at Radamés “Juni” Figueroa’s site-specific High Line installation, La Deliciosa Show. The event is part of the High Line’s current open-air group show, “Mutations.”

2. “The Stone” at the Drawing Center
In 2005, American composer John Zorn founded the experimental music space The Stone on the Lower East Side. In anticipation of The Stone’s move to its new Greenwich Village home, at the New School for Social Research, the Drawing Center will host a series of performances by musical artists such as Marco Cappelli, Zeena Parkins, and Ikue Mori, among others.

3. “Arte Povera,” curated by Ingvild Goetz, at Hauser & Wirth
Arte Povera collector Ingvild Goetz explores this groundbreaking 20th-century Italian art movement, celebrating its 50th anniversary this year, with this exhibition, which features more than 100 works by Alighiero Boetti, Pier Paolo Calzolari, Jannis Kounellis, Mario Merz, and Michelangelo Pistoletto, among others. The artwork will be supplemented by rare materials from Goetz’s personal library.

4. “Deadeye Dick: Richard Bellamy and His Circle” at Peter Freeman, Inc.
Pioneering gallerist Richard Bellamy helped launch and foster the careers of many artists beginning in the 1960s and continuing through the 1990s, including such disparate figures as Donald Judd, Mark di Suvero, Claes Oldenburg, and Richard Serra. Peter Freeman presents “Deadeye Dick: Richard Bellamy and His Circle,” an exhibition that shines a light on Bellamy’s little-known career, and features works from over 40 artists. The show is curated by the dealer’s biographer, Judith Stein, who recently published Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art.

5. Photoville at Brooklyn Bridge Plaza
A photography village pops up in Brooklyn, housed in more than 55 shipping containers that have been transformed into art galleries. Expect timely, politically charged work, like photographer Nichole Sobecki and journalist Laura Heaton’s “A Climate for Conflict,” a series documenting the devastating effects of drought in Somalia; Stephanie Keith’s photos of the protests at Standing Rock; and Kisha Bari’s “ReSisters: Behind the Scenes of the Women’s March.”

6. Kambui Olujimi, Where Does the Time Go… at Lincoln Center
Visual artist Kambui Olujimi’s short film “Where Does The Time Go…” chronicles the research of pseudo-scientist Ames C. Vera, who travels door to door across the multiverse conducting interviews about missing time. The film will feature a live score, and will be followed by a Q&A with the filmmaker.

The Tomb of a Pharaoh’s Jeweler Has Revealed Some Very Fancy 3,500-Year-Old Mummies

The drumbeat of Egyptian archaeological discoveries continues, with that country’s Ministry of Antiquities revealing that it has uncovered an ancient tomb belonging to an Egyptian goldsmith named Amenemhat. The site is just the latest archaeological find in the Draa Abul Naga necropolis, located near the Valley of Kings in the city of Luxor, some 400 miles south of Cairo on the Nile River.

“We found many objects of the funerary equipment inside and outside the tomb,” said Minister of Antiquities Khaled al-Anani in a statement, as reported by the BBC. “We found mummies, coffins, funerary combs, funerary masks, some jewellery, and statue.”

Lead archaeologist Mostafa Waziri stressed that an Egyptian team, rather than foreign professionals, was responsible for the find.

“We used to escort foreign archaeologists as observers, but that’s now in the past,” Waziri told the Daily Mail. “We are the leaders now.”

About 3,500 years old, the tomb is thought to date to the 18th dynasty. Amenemhat was a jeweler, and his tomb was dedicated to Amon-Re, the main Egyptian deity. Inside, archaeologists found a statue of Amenemhat and his wife, featuring a portrait of their son between them. The site also contained 150 small carved wood, clay, and limestone funerary statues.

Archaeologists found two separate burial shafts, both of which contained mummies. Later sarcophagi, from the 22nd and 21st dynasties, were also excavated.

“We are not sure if these mummies belong to Amenemhat and his family,” Waziri told the New York Times.

Waziri also pointed out that he and his team are not the first to have found the ancient crypt, which, he revealed, was likely disturbed long ago. “Others have clearly reused this tomb and poked around in ancient times,” he said. “That’s probably why their heads are uncovered.”

The latest find follows other recent discoveries in the region. Last November, archaeologists discovered a lost city thought to be Egypt’s first capital. In April, a Japanese team unearthed a 3,500-year-old tomb belonging to an ancient Egyptian nobleman named Userhat. It was work on the latter site that first offered clues about the whereabouts of Amenemhat’s tomb, according to CNN.