Tiger Celeste Arts

As the people, cultures and thoughts change in different regions, jewellery styles also change. In India, making of jewellery is considered as a form of art. This art is passed through a generation of jewellery makers and they are known as karigars. Now-a-days there is a strong comeback of Indian jewellery as many well-known designers and brand names houses are seen interested in revival of it. Let’s look at the famous regional styles of jewellery available in India. There are surely many regional styles available but these are some prominent designs all over India.

Meenakari is an art of fusing or enameling metal with the lacquers of different colors like blue, red and green. Rajasthan is famous in this art.

Theva is another art found in Rajasthan and it is a rare one, revived by well-known Indian designers. In this art gold is enameled into glass. Foil of different colors is used below glass which highlights the gold and gives an exquisite look.

Mughal is an art mostly found in Dehli. Roots of this art are linked with Mughals who brought it to Indian Jewellery and it never went out of fashion. By looking at this art wok, you will find that this art work is inspired by nature. Commonly used motifs include birds, vines, leaves, flowers, etc. This jewellery has a magical effect, that’s why these styles by Mughals go hand in hand.

Gheru is a style of Baroda found in Gujrat. In this art designer give a beautiful dull red copper finish to jewellery.

Kundan Jadau is an art of encrusting or embossing gemstones. This art is a part of Mughal style of jewellery. It is also found in the region of Rajasthan and it is a specialty of artisans from Jaipur. Kundan is a semi-opaque crystal which is surrounded by metal leaves.

Polki is a unique jewellery art. Polki is an art work found in Gujrat and made up of the uncut diamonds.

Pachchikam style is an art work which involves holding together glasswork and uncut semi-precious stones which is done by metal claws. For generations it is a Gujarati speciality and consider opposite to Kundan Jadau style of encrusting and embedding.

Filigree is a style from Bengal in which designs and patterns are made by twisting thin wires of silver. This art work is also found in Andhra Pradesh and Orissa.

Temple jewellery is a well known Indian jewellery from South India. In this jewellery, artisans use precious stones and 22 karat gold. In past times, this jewellery is made to adorn the idols of gods and goddesses of the temples. That’s why it is known by this name. Designs and motifs of this jewellery are also nature inspired. Tamil Nadu is popular for temple jewellery.

Navrattan is traditional Indian jewellery and found in Bengali style. Usually it is made by the combination of nine gemstones – emerald, ruby, cat’s eye, turquoise, diamond, pearl, opal, coral and sapphire.

From the fruitful 18th century, which gave birth to numerous prestigious watch companies of today, comes the famous manufacturer, who moved to Switzerland in order to produce world famous watches. Wyler replica watches are a mere indicator of the popularity of this relatively modest company, which truly has numerous fans all over the world. Being so timid and not aggressive in the world of treat watchmakers, and yet belonging to the Hall of Fame, this company offers some of the best selling time pieces ever.
Buying yourself a replica does not make you an outcast. There is a number of people out there, doing the same thing. From replica perfumes, clothes and variety of accessory, Wyler replica watches are merely one segment of many, people choose to satisfy their savvy tastes with affordable money. Replicas will provide as much chic appearance as the original watches – that has been proved by numerous customers and immense demand for these timepieces on replica market. Of course, counting the genuine price, you will find it only reasonable to buy replica watch.
Not a single important thing differentiates replicas from their originals. Of course, gold will be replaced with skillfully painted stainless steel and diamonds with perfect artificial gemstones. It is truly hard to tell the difference, which you will see, once you compare your Wyler fake watches with the originals ones.
People simply understood that replica market evolved into their main and trustful supplier for many beautiful and worthy things, they could never afford for true price. Although replicas have numerous enemies, it seems in the end – it has more friends and people who justify its existence. It cannot be more logical than that. If all those fancy, branded watches are produced in limited series, but with astronomical prices, who is going to afford them? Apart from few, most will opt for replica and rest satisfied for a long time with the generous deal and excellent watch.

Art Investment Guide

Second only in size to the US market, The UK art and antiques market is worth well over £4 billion a year, and holds a global share of some 26% of the world’s total art sales. In terms of volume, the UK is the largest marketplace for art on the planet. (1). In 2005, the index covering sales of old masters showed growth of 18. 8%, while the similar index covering post-war and contemporary art rose 8. 3%. Over the past five years, the average annual returns were 3. 1% and 17. 7% respectively. (2). That’s a better return than investing in stocks and shares.

Buying art can represent a fantastic long-term investment opportunity. In order to help you make an informed decision on the art you buy through The Art Ministry website, we have put together some key considerations to bear in mind when selecting work from our galleries. With over 25 years’ experience in the art market, our team have followed the same steps to ensure all work available in our Online Store is fairly valued.

1. Buy what you like

It’s important to trust your own taste when buying art. Our aim in providing this collection is to offer artwork for every budget that adds interest to your home or office, a talking point that enriches your environment and lifestyle. Great art needn’t be expensive, and buying artwork should primarily be an expression of your own personality. Like stocks and shares, the value of artwork can go up or down, so it’s crucial you buy what you like and can afford. Ultimately the true value of art is in the pleasure or feelings it evokes. The more people that find it appealing the more demand increases, which inevitably increases the value.

2. Do your homework and understand the value of the work

When you view a piece of artwork to buy, pay attention to detail. If you look into the way it has been physically created, how much time it took and the journey the artist went through in producing the piece, you will come to appreciate the skill of the artist and the effort involved in making the work. When it comes to value, don’t be taken in by the medium either. For example, oil paintings are in general more expensive than watercolours, but the latter can require more skill to achieve the desired impression.

The more artwork you look at and the more background information you obtain on various artists and how they work, the more you will learn what you like and why. Comparing the merits of a work with other artist’s work will help you determine the inherent value in any given piece and assist your buying decision. If you want to know what similar work has sold for, use a source like The Art Sales Index, which has catalogued art prices since the 1950’s, or the Mei/Moses Fine Art Index, which tracks various auction price indexes and compares them to the stock exchange to gauge relative performance.

The comparative merits include:

The artist’s exhibition history

The nationality of the artist

What country the artist works in

The medium the artist uses

The size and dimensions of the piece

The price their work has sold for in the past

3. Buy from a reputable dealer

Only buy artwork from a reputable dealer. The best ones will provide extensive background information on the artists in their portfolio, giving details on how they work and what inspires them. Knowing the artist’s passion might also help you find a work that is right for you. Click here to read ‘About the Artists’ at The Art Ministry.

Reputable dealers will also provide a ‘Certificate of Authenticity’ with all original and limited edition artwork sold. This will be signed by the artist and proves the work is 100% genuine and has been accurately valued. These also include the following information:

The title and visual description of the artwork

Edition numbers and collection details

Materials and techniques used

Size and dimensions of the work

The copyright holder

Distributor details

Release date of the artwork

Printer’s details if relevant

Comments from the artist

Notes on caring for the artwork

Sources:

1. The House of Commons Select Committee on Culture, Media and Sport (Sixth Report)

2. ‘Is it just art, or is it investment?’ by Joe Bolger, Times Online 17th April 2006, quoting figures from the Mei/Moses Fine? Art Index

If you require more assistance with buying art from our website, please to contact us, alternatively, feel free to browse our to view the work of all our artists.

Looking for tips and advice on art and design, visit our blog.

Kids Clothing Shops Online Check out the online shops with kids clothing, kids toys, kids shoes, books, dance wear, party accessories, baby accessories and much more for kids.

The World’s Best Art Consultancy

art-exchange. com unveils Release III of its art tool for designers

The Future Art Consultancy

Locating and placing artwork in a design project is arguably the most difficult part of the project. While some designers take on this task themselves, many enlist the assistance of an art consultant. One limitation of this approach is the consultant’s limited universe of artists. Most art consultants end up with a few “go-to” favorites.

Imagine an art consultancy able to directly access 10,000 artists, with technology capabilities aggregating art choices in a portfolio for emailing or high-resolution printing for presentations. Add the ability to correspond with clients via e-postcard including selected images. And finish with the ability to access framing options online thus enabling the designer to actually show the customer how the pieces will look framed.

Does It Work?

Can a website help you find art? Art-Exchange (www. art-exchange. com) is not a new website, not a new service, not a new company. It does, however, take a new approach to providing art to designers. And it has a new site design that Art-Exchange claims will make the service even more powerful and easier to use.

I spoke with Richard Gipe, President and CEO of Art-Exchange, to find out why he thinks his company’s service is so special. I asked him, “If you had to communicate Art-Exchange’s value to designers in a single sentence, what would you say?”

Here’s what he said: “If you want to access as much art as we have on Art-Exchange, you would have to go to 20,000 galleries, and you would have to deal with so many different sellers that the logistics would be overwhelming. ” That sounds pretty good. But does the site work?

About Art-Exchange

Art-Exchange is a business service provider that specializes in solutions for the design trade. They can offer solutions to designers as an art consultancy, or they can provide solutions to art consultants to help them be more effective and efficient.

For the past five years Art-Exchange has been actively contacting artists to list their works on the exchange. Today there are approximately 100,000 different works of art created by over 10,000 different artists. Imagine searching 100,000 records to locate the perfect art solution. Nearly 60% of all the works are originals, and the remaining 40% is a variety of editions. All of these works are organized in a database, and a search engine locates works using any or all of the following criteria:

• Artist’s name

• Title

• Subject matter

• Style

• Medium

• Size

• Colors

• Price

• Orientation

Suppose you need oversized original works and price is an issue. Maybe you want only works with lighthouses. Or perhaps you need large public works. That’s how specific the search engine can be. And with the new design, if you enter several criteria and the search engine can’t find a work that matches all your criteria exactly, it will refer you to the works that match your criteria most closely, so that you don’t have to start over. As one of the new site’s designers said, “We don’t ever want to show nobody anything. ”

Normally, designers hire an art consultant or visit multiple galleries or view print books to find the perfect art solution. That’s the old way of finding art. Now designers can look in one place and view tens of thousands of originals alone. This is the new way of finding art. Art-Exchange let’s designers search for all the art they need in one place. That alone has the potential to save time, but the website has some other very powerful features that give designers even more flexibility and power.

Powerful Features

One very important new feature is the Designer Portal. Art-Exchange has four different portals that members can use to enter the site. There’s one for retail clients, one for community partners, and another for artists and other sellers. But the Designer Portal is available only to designers. Once you enter the portal, you can search for the art you want, view images of the art, and immediately see designers’ wholesale pricing.

Here’s another great new feature: Portfolios. How do you keep track of the works that fit your client’s needs? You keep a portfolio. Designers can set up portfolios for individual clients, different locations, or just for future reference. It’s easy to save works to custom-made portfolios. And it’s easy to show the portfolio to clients—from anywhere in the world.

Another terrific feature is the Exhibitions section. Exhibitions include the works of around 200 artists and are compiled topically. Prior exhibitions, which are still accessible, include Realism, Landscape, Watercolor, and Impressionism. In order to have fresh ideas readily available for clients, designers need to be reviewing art all the time, and these exhibitions can help. It takes only fifteen minutes to view an entire exhibition.

Another feature that can help designers and clients work together—especially when clients have trouble describing their interests—is the Postcard feature. Clients can go to the website to browse for themselves. They can view an exhibition, browse by artist, or do a search. When they find something they like, they can send images to their designer using electronic postcards.

Soon, Art-Exchange will even offer the ability to create Custom Frames online so that clients can view the artwork in different frames and choose the one they like best.

Full-Service Art Consultancy

Art-Exchange goes far beyond just the website, however. They also provide full-service art consultancy. They have a full staff of qualified art consultants who can do as much or as little as a designer wants them to. Anything a typical art consultancy does, Art-Exchange will do. If a designer works with an art consultant already and wants to maintain that relationship, Art-Exchange will even work with his or her current art consultant.

How to Access the Features and Benefits of Art-Exchange

Go to www. art-exchange. com and visit the Designer Portal. Log in as a designer and learn about how the service works. You can easily search for art, access their full-service art consultancy, or guide your favorite art consultant to Art-Exchange. A subscription is free. Art-Exchange is paid by the sellers on completed transactions; so they only get paid if they’re helping designers find the right art, for the right job, at the right price.

When asked what he would most want to communicate to designers about the company and the service it provides, Gipe said, “I want the members of ASID who place art to try the art consultancy service at Art-Exchange, and if they’ll give us 10% of their trust, we’ll earn the other 90%. ” If you’re a designer or an art consultant, it’s worth trying. Does it work? Is it really whole new way of finding art? Yeah, that’s what it is. And for designers, the world of art will never be the same.

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Here is another great way to recycle your picture or art frames rather than throwing them out because the glass is missing or broken, or you’re just bored with the look.  Bring your frame back to vivid life with a beautifully unique framed art design that would look great in any home décor.   This is the third in a series of three articles on framed art projects.   Here is how:

Cut a piece of cardboard and mount it to the back of the wood frame large enough to cover the opening of the frame and secure it with clear packing tape. The cardboard now replaces the missing glass and will hold your project in place. Next cut ribbed finished scrap paper to the size of your frame opening and secure to the cardboard using artist spray adhesive. Note: this step can be done prior to securing your cardboard to the back of the frame opening.  Next, arrange embellishments by your theme (we chose a ‘Home for Sale’ theme) using double sided foam tape.  For this project you can use store bought embellishments or make your own. Try adding ribbon, decorative push pins, peel and stick words, letters, numbers or charms to personalize your project.   The main thing is to have fun with it and make it your own. Tip: Painting your picture frame to coordinate with your framed art project would also enhance your finished art work.

Supplies:

Wooden Frame Cardboard Package of embellishments (or you can make your own). 1 piece of ribbed finished scrap paper (we used an olive green) Double sided foam tape Artist spray adhesive Satin Ribbon – ½ “width or smaller (we used an olive green) attach with foam tape

Optional: Peel & Stick words, letters or numbers

Optional: Decorative push pins

“Art is a lie that makes us realize truth. ”- Pablo Picasso

What kind of lie does contemporary art support today?

What kind of truth are we realizing through the contemporary art?

Contemporary scene of visual art resembles the space filled with broken mirrors, where images reflect each other in the multidimensional sphere of media circus. The technique of cataloguing and classification, creation of categories, could serve as the key to the mapping and understanding of complexity of the multitude of approaches and streams that exists in today’s global art scene. Criteria for both, the creation and the selection are borrowed from random structures, and theoretically are questioning relevance of the evolution of art.

The initial categories for the whole system are those of matter and consciousness. They provide the trunk from which all the various branches of the other categories stem. All elements are so interconnected that, each can only be understood as an element of the whole. -Dialectical Materialism (A. Spirkin)

Determination of the significance of styles or tendencies, of the main art stream, groups or any other structures, will become irrelevant in near future. “Anything goes” was replaced by “And What?” With all the information and tools available today, everybody could become an artist. People of all professions are playing with new media. Does Garage Band make a musician, or graphic software a designer, or using digital camera a photographer? New technologies create a game where in competitive manner consequently everybody wants to win. Winning in art, means also experience “15 minutes of world-fame” and becoming a “superhero. ” Consumer society deals with superficial substitution for happiness. Who is going to watch the game if everybody plays. Fortunately we can not play at the same time. Audience varies from small groups (family members and friends) to large social groups. In larger social communities, like national structures, demand for “heroes-artists” diminishes and culture is broken into small pieces of individualized performances of regional character. Researching tendencies of art scene behavior in context of contemporary philosophy of art we tend to accept a concept, that everybody is or could be an artist. The meaning, importance and consequences of such mind stream are very profound and have a great impact on cultural and social live. Why? It requires dropping the concept of conceptual thinking.

My artistic approach is created on such foundations. Not that I would be able to perform non-dualistic processes, but I am trying to pronounce a little speculative futuristic prognoses of the era after the end of art. Sooner or later this trend will be labeled as some kind of Unthinkable Art. Historically, realization of such path becomes a paradox to common sense (especially on collective level); however, similar trends are reflected in the air of the post-postmodern rain, and will soon appear on the sky as a rainbow.

Today’s curators are looking for unique and interesting angles to make their point across when using selective techniques for art shows. The usage of traditional approaches secures the system of art cycle, from creation to the distribution, and protects the capital of cultural bureau. Even the most alternative scenes (Technologies vs. Art, or other forums of so called “new media”) are not resolving the issue of foundation of the role of art on the contemporary global cultural platform, because they are based on the traditional curatorial, selective and preconceived mechanisms. What do I mean by that? I refer to the study of the designation processes of mind in relationship to the definition of what we labeled: The Art. As a reference to dialectic philosophies is an example of demonstration the potential of the idea pronounced by A. Danto, about art becoming philosophy. Such Ideas would need to be adopted, not only by artist themselves, but especially reformulated by structures that officially support the larger cultural platforms.

What are results of the conference that took place in Teheran in 2001? Art is still presented to the public in the manner of presentation from early 20 century. Structures that support such static views certainly do not elevate the public consciousness and awareness of issues of modern art world. The Artist Mark Kostabi makes allusion to the idea, of the art being a servant of market. Some curators are trilled by this statements. In the global picture of westernization, M. Kostabi’s phenomenon is becoming a guide – a hero, who is ideal combination of qualities, that contemporary artist should posses. It is also the best demonstration of lie that helps us to realize the truth about art of today.

Like a flashes of neon sign, art is reflected, from the pieces of mirrors everywhere.

Looks like a new quality of question have arisen since Arthur Danto published his ideas in book called “After the end of art, 1998. “Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. ” Art is becoming a philosophy.

I always believed in finding the answers in the space between, looking for the middle course. Neither postmodernism nor new media approaches are answers to the understanding of the positioning of the art of tomorrow. Postmodern world is a world of entertainment. It’s like an amusement park, where possibilities are endless and we feel overwhelmed for a while, but we have a need to relax from excess information and go back home.

Kostabi is one of those, who understood the art market, and because of his intelligence he penetrated the system, took advantage of it, so he can do whatever he wants. We pay for expensive tickets out of our pocket. I admire him because he realized the dream of every artist. Or is it not a dream of every artist to get recognized and sell art work all over the world?

If not, what is?

Is it still relevant to ask question, such as, what is Art? How do we deal with it? What is the nature of beauty? I would like to refere to the dialog between Einstein and Tagore from 1930.

EINSTEIN: There are two different conceptions about the nature of the universe – the world as a unity dependent on humanity, and the world as reality independent of the human factor.

TAGORE: When our universe is in harmony with man, the eternal, we know it as truth, we feel it as beauty. ”

E: If there were no human beings any more, the Apollo Belvedere no longer would be beautiful?

T: No!

E: I agree with this conception of beauty, but not with regard to truth.

T: Why not? Truth is realized through men.

E: I cannot prove my conception is right, but that is my religion.

T: Beauty is in the ideal of perfect harmony, which is in the universal being; truth is the perfect comprehension of the universal mind. We individuals approach it through our own mistakes and blunders, through our accumulated experience, through our illumined consciousness. How otherwise can we know truth?

- by Dmitri Marianoff, published in NewYork Times, August 10, 1930

“Contemporary artists would never approach new horizons. One of the reasons of this failure seems to be the separation of artistic activity from speculative thinking. “

2001 Tehran Museum of Contemporary Art, International Conference on the Philosophy of Art.

What happened since the time of the conference? How to overcome speculative thinking, if it arises as a cultural result of values supported by society we live in?

How to identify or place individual art work into the world of already so complicated and diverse art scene, without compromising originality, respecting evolution in art? How do we deal with the fast passing, minute to minute changing tendencies of art? How the individual artist contributes to the art of its lifetime, and not just contributes to the 15 minutes type of history? What are the values, reasons of art of tomorrow? Is there analogy in art history to the situation of our era? What are the future forms of the visual exploration? What will the production of art going to be in near future, 10 years from now? What is the role of new media? Does artist have to be involved in the philosophy of art? Could individually created piece of art be created in isolation? If so, how are art processes structured on individual level and on the global level?

It is intriguing to think about becoming a pioneer of the new Era of Art. My motivation is to explore the field of possibilities. In have no interest in inherent aspect of art rather I am interested in the evolution of possibilities of artistic thinking. In 1999 I have graduated in Academy of Fine Arts in Bratislava, with installation inspired by I. Kabakov, where I exhibited my workspace with drawings and prints on floor and the white canvases, with intention to question the meaning of the art itself. White canvas was there to raise the question of reason for continuation of mark making and the End of art narratives. I have seen closed circle of possibilities. If anything was possible, and everything was an art; than nothing was an art anymore, so Art was Death. But as I realize today, that was just the beginning of my long journey to the realization of truth about art.

The Incredibles (2004) refreshed feelings about the End of Art.

“When everybody is a superhero than nobody is superhero”.

In order to continue in activities leading to product that is labeled as an art, I had to formulate and reconsider following facts:

1. Analysis of situation.

2. Underlying misconception of self and wrong motivations.

3. Formulating the solutions and strategies.

4. Continual fabrication and visual symbioses with reality.

1. ANALYSIS OF SITUATION

From the Teheran’s conference: Post-Modernism & Contemporary Art,

27 April – 1 May 2002

The Problems of Contemporary Art:

- Aesthetics in Contemporary Art

- The Fine Line between Artistic & Non-Artistic Work

- The Language & Expression of Contemporary Art

- Contemporary Literature & Art

- Contemporary Art & Technology

- Globalization & Contemporary Art

- Post-Modern Art: Features & Characteristics

- The End of Art

Post-Modernism & Trends of Contemporary Art:

- Minimalism

- Conceptual Art

- Land Art

- Video Art

- Body Art

- Anti-Art

- Local Art

- Feminism

- Post-Modern Architecture

Theoretical Origins of Post-Modern Art

Theoretical Principles of Modernism from the viewpoint of Modern Philosophers:

- Humanism

- Rationalism

- Subjectivism

- Nihilism

- Aesthetics

- Enlightenment

2. UNDERLYING MISCONCEPTION OF SELF AND MOTIVATION

I have slightly touched topics of traditional dilemmas of dualistic mind. The acceptation of dual aspect of things, leads to judgmental thinking, not only in art. Creation of categories is beginning of the tragedy of the era after the end of art. This is why Beauty and any other category could be defined, which leads to the continual labeling.

Definition of other reasons of misconception is based on juxtaposing Nietzche’s and Malraux’s models of art and processes of creation.

Nietzche

a. One seeks for oneself a less artistic public. The superstitious belief in the “genius”

b. One harangues the obscure instincts of the dissatisfied, ambitious, self-disguised spirits in a democratic age: importance of poses.

c. One transfers the procedures of one art to the other arts, confounds the objectives of art with those of knowledge or the church or racial interests (nationalism), or philosophy.

d. One flatters women, sufferers, the indignant, etc. False “intensification”.

Malraux Andre

Art is a display of universal creativity of individual. Through art work man was, and is, opposing and transcending limitations of his physique, his personal and social (historical) destiny. Malraux refuted to explain art works in relation to the biography of their creators, and was against this method in explaining motives and contents of art.

3. FORMULATING THE SOLUTION AND STRATEGY/ VISION-UTOPIA

a. Revival of Iconic Quality.

Because of the degenerated Era of Spiritual Values and the End of time of Old Gods; which migration and multicultural blend is responsible for, I am looking for Possibility of New Sacral Form. This is not a creation of transcendental art. It is a search for artistic form that allows the content to respect dialectic evolution of social wisdom, where an essence of sacral secrecy is highly respected. It is a new level of the sphere of new colors, shapes and structures. Renewal of art forms is based on reevaluation of sacral attributes from history and than elevating the forces of modern era which define motives and perspectives of redefined sacral forms. It is revival of existing symbols, on global level. It is not a creation of a new religion, but it is a new level of social consciousness. Form remains the same, mind is different. Technology, art and philosophy are integrated into continuous symbioses.

b. Role of the Artists, Galleries and Cultural Industry. Combination of Two Worlds. New Cultural Wisdom. Utopia.

This would be the end of “…marketing game governed by art dealers, Gallerists and publishers, who have to run the business of Cultural Industry. ”

The society on global level would be governed by New Cultural Wisdom. Creation of art is not considered anymore as the act of creation. “The art will be spontaneous as breathing. ” Artist is producing form, that is instantly and naturally blending into the environment, so the sub-consciousness is directed by wisdom that eliminates the dilemma of hierarchic model. Gallery space is no more required and the whole space is becoming a showcase. The whole space does not require the poses. It is an art of conscious depiction of picture plan, from retinal experience, or selection of the picture frame in consciousness and placing the required aesthetics upon it. Artists are fabricating art that is already blended into environment as natural portion of space and serves as perceptive potential for public depiction. Cultural Wisdom is defined by human consciousness that provides unlimited potential for defining the pictorial framing of reality, and its limits are limits of understanding the phenomenon of reality.

c. Clash of Civilizations. Global Culture. Meta-code, and New Artistic Religion.

We experience on global level formation of new cultural qualities that are based on cultural clashes. (Example: Global cultural experience is formed in LA house, with my Persian and Mexican friends listening to the Japanese techno music, eating Bulgarian cheese with Arabic bread, Russian pickles and drinking French wine while discussing Slovak culture, or latest fashion trends in London. ) East meets west or south meets north processes are not completed yet and it is hard to predict the results from the cultural clashes. But we need to look at the presence as the formation of the universal space, where cultural identities will be redefined. This will result in temporary crisis of individual identities but eventually will lead to the identity of global consciousness.

Americanization of world can serve as model of globalization of globe with its positive and negative aspects. Migration to caves is limited. S. J. Lewy

4. CONTINUAL FABRICATION AND VISUAL SYMBIOSES

I would like to scratch the surface beyond the point of A. Danto’s philosophical questions about the end of art. Not that I would have “the guts” to elaborate on his ideas from philosophical perspective, but I just want to reflect on some fragments and articulate them strictly as an artistic vision.

“A philosophical question arises whenever we have two objects which seem in every relevant particular to be alike, but which belong to importantly different philosophical categories.

…and this is no less the case when seeking to account for the differences between works of art and mere real things which happen exactly to resemble them.

…for example, regards paintings as very complex perceptual objects. So they are, but since objects can be imagined perfectly congruent with those which are not art works, these must have equivalent complexity at the level of perception. After all, the problem arose in the first place because no perceptual difference could be imagined finally relevant. But neither can possession of so-called “aesthetic qualities’ serve, since it would be strange if a work of art were beautiful but something exactly like it though not a work of art were not. In fact it has been a major effort of the philosophy of art to de-aestheticize the concept of art. It was Marcel Duchamp, a far deeper artist than Warhol, who presented as “readymades” objects chosen for their lack of aesthetic qualities – grooming combs, hat racks, and, notoriously, pieces of lavatory plumbing. “Aesthetic delectation is the danger to be avoided,” Duchamp wrote of his most controversial work, Fountain, of 1917. It was precisely Duchamp’s great effort to make it clear that art is an intellectual activity, a conceptual enterprise and not merely something to which the senses and the feelings come into play. And this must be true of all art, even that most bent upon gratifying the eye or ear, and not just for those works which are regarded as especially “philosophical,” like Raphael’s School of Athens or Mann’s The Magic Mountain. Were someone to choreograph Plato’s Republic, that would not, simply because of its exalted content, be more philosophical than Coppelia or Petrouchka. In fact these might be more philosophical, employing as they do real dancers imitating dancing dolls imitating real dancers!

Where are the components for a theory of art to be found? I think a first step may be made in recognizing that works of art are representations, not necessarily in the old sense of resembling their subjects, but in the more extended sense that it is always legitimate to ask what they are about.

Now of course not all representational things are works of art, so the definition has only begun. I shall not take the next steps here. All I have wished to show is the way that the philosophy of art has deep questions to consider, questions of representation and reality, of structure, truth, and meaning. In considering these things, it moves from the periphery to the center of philosophy, and in so doing it curiously incorporates the two things that give rise to it. For when art attains the level of self-consciousness it has come to attain in our era, the distinction between art and philosophy becomes as problematic as the distinction between reality and art. And the degree to which the appreciation of art becomes a matter of applied philosophy can hardly be overestimated. ” – A. DANTO

I believe that art should reach the level, where its own representation would be representation of the pure existence. What do I mean by pure existence? Ii is purification on the level of non creation. All creation is pregnant by its causes. Consequently purifying the causes of creation will purify the act of creation itself.

Global consciousness on the level of cultural wisdom will create the platform, where all representational things will become work of art. It would be consciousness and its possibility to frame the fragment of reality and apply the aesthetic quality upon it. The reality in cultural wisdom level is ultimately de-aestheticized. Marcel Duchamp’s idea of the danger of aesthetic delectation would be eliminated and his vision completed.

Every aspect of reality could become art, but Wisdom Culture does not allow the reality in dualistic (judgmental) sense to become the art neither on collective level, nor on any regional level. It would only exist as a potential view, on the level of one’s consciousness. However in later stages of development of wisdom culture, in the stage of ultimate equanimity, the nonjudgmental aesthetic experience of reality as ultimate art could be realized simultaneously in more than one person. Evolution of collective experience could follow. The result of such parallel experience manifests the evolution of human kind toward the subtle spiritual qualities and realization of inseparable quality of beauty from the existence itself. It is experience of highest aesthetics. This will lead to the formation of new social structure, where “shamans” will protect the global Sanctum.

The essence of the Sanctum is present in every aspect of reality, which holds the door to the potential creation, where the seed of the nature of beauty could be found.

Don’t throw away the wooden picture frame you have just because the glass is missing or broken.  Instead, recycle your frame to create a beautiful unique framed art design that would look great in any home décor.   This is one in a series of three articles on framed art projects.

To start out, cut a piece of cardboard and mount it to the back of the wood frame large enough to cover the opening of the frame and secure it with clear packing tape.   The cardboard now replaces the missing glass and will hold your framed art project in place.   Next, cut, peel and stick cork finished paper to the size of your frame opening and secure to the cardboard.   Note: this step can be done prior to securing your cardboard to the back of the frame opening.  Then, arrange photos and embellishments by your theme of choice using double sided foam tape.   Try adding ribbon, decorative push pins, peel and stick words, letters, numbers or charms to personalize your project.   The main thing is to have fun with it and make it your own.   Tip: Painting your picture frame to coordinate with your framed art project would also enhance your finished art work.

Supplies:

Wooden Frame Cardboard Peel and stick cork-finished paper sold by the roll Photos Package of embellishments, or you could make your own (for this project to coordinate with the doggie photo, dog theme embellishments were used) Double sided foam tape Brown and white plaid ribbon (¼ “width)

Optional: Peel & Stick words, letters or numbers

Optional: Decorative push pins

Are your ready for some action?

Among all the remarkable action/martial arts movie stars over the last 20 years or so, several of them truly stand out such as Jackie Chan, Sylvester Stallone, Bruce Willis, Arnold Schwarzenegger, Chuck Norris, probably Jean-Claude Van Damme.
(Maybe you have your own favorites that haven’t been mentioned here. Let me know by sending in your comments. )

There are movie performers most people remember and who are quite frankly household names.

One such martial artist and movie performer I am always impressed with is Li Lianjie.

“Who the heck is that?”, you ask.

I admit I also only knew him by his stage name, Jet Li.

For many years, Jet Li has worked extremely hard to get where he is now in his career.

And obviously his hard work and determination have paid off for him and his family.

Especially if you consider that his mother had to somehow pull him, his bother and two sisters through as a widow in Beijing during the Sixties.

As a teenager, Jet Li rigorously trained in Wushu for several years, winning countless titles and national gold medals.

Jet Li became a member of the high-acclaimed national Wushu team that even performed for then-U. S. President Nixon in the United States.

In those days it was an extraordinary honor and opportunity for Chinese to be able to travel overseas and even more so to perform in front of “the leader of the free world”. Jet Li was still just a teenager at the time!

His abilities and achievements as a Wushu forms practitioner paved the way for Jet Li’s acting in martial arts movies that started in China, then Hong Kong and ultimately the United States. He has become a global superstar throughout the years.

You might have seen him in some of his movies such as:

Shaolin Temple
Once Upon A Time In China

Lethal Weapon 4(This was the first time I had ever seen Jet Li and I was impressed!)

Romeo Must Die
Hero
Cradle 2 The Grave
Fearless
War (with Jason Statham)
The Forbidden Kingdom (with fellow superstar Jackie Chan)

I have learned that Jet Li is a cast member along with Sylvester Stallone, Dolph Lundgren, Jason Staham, Arnold Schwarzenegger to star in  “The Expendables” which is scheduled to be released in 2010. More on that at a later date.

But there is also another side to Jet Li such as his charitable activities, notably after his near-death experience in 2004 in the Maldives during a tsunami.

Reportedly, Jet Li’s “The One Foundation” supports international disaster relief efforts with the Red Cross and other efforts, such as recovery in the 2008 Sichuan earthquake.

Jet Li continues to impress on and off the big screen.

If you enjoy watching Jet Li either at age 14 performing Wushu form for his first championship or as the bad guy in Lethal Weapon 4, stop by TheMartialArtsReporter. com