Friday, June 28, 2013

Si tu que vales... 

Bet you haven't seen anything like this before.  This had me spellbound the entire time.  Watch the video to the end

Monday, June 24, 2013

En aout quoi de neuf a saint Yrieix la Perche

Sortir à Saint-Yrieix – Août

01 au 31 août – Exposition Collages

Friday, June 21, 2013

Opportunity for Showing @CERES...Act quickly

Ceres Gallery presents 10 simultaneous exhibitions each week for five weeks with space available for both two and three-dimensional work. Each artist will be able to fully avail themselves of approximately 12-17 running feet of wall space with 10+ foot ceilings or approximately 80-100 square feet of floor space.  (There is only room for one artist each week with work on stands or on the floor)

  • These one-week exhibitions will begin Nov 26th and continue through Dec 28th, 2013 at our 2000+ sq. ft. premiere gallery space in Chelsea.

  • Ceres will host a reception each week for the public as well as for the guests of each artist.

  • Artists are entirely responsible for delivering, installing and de-installing their own work. Work can be either for sale or not for sale.

  • Reservations are limited to 50 artists on a first-come, first-served basis. Fee payment required for confirmation of participation.

Email Director, Stefany Benson with any questions:

Location:    547 West 27th St. Suite 201
Chelsea, NYC 10001 

First exhibition will open on Tues, Nov, 26th, 2013. Each week following will have an exhibition opening on Tuesdayand closing on Sat at 6 pm.

Gallery Hours: Noon to 6 pm. Tues-Sat. and Noon to 8 pm Thu. No gallery sitting is required by participating artists.

Sculpture, painting, drawing, printmaking ceramics, collage, mixed-media and photo accepted. No video or installation.

On installation day, you must bring your work and remove all wrappings. Ceres has no room for storage and will not store anything for you. You will install your work with your own tools and hardware. We provide advice only. Ceres will light the exhibition. You will provide price list and all other promotional materials such as bio and book. Ceres provides a general postcard for Exposure and sends out an e-card for each week of the exhibitions.

Ceres encourages sales.

EXPENSES:  $250 payable in advance to reserve your space.  No other fees.

A release is included for you to sign while the work is in our possession and constitutes 
an agreement with the above statements.


Ceres will create and print an announcement card; each artist will receive a limited number. Ceres will issue a press release and advertise in The Chelsea Art Map as well as numerous online listing sites. Specific dates for delivery, installation and pick-up will be emailed to you as your exhibition gets closer.

Your art is not insured by Ceres at any time.
Ceres accepts no responsibility for loss or damage to the art by whatever cause.

Please print your name:



Date: ______________________________
Address: _____________________________



Medium: _____________________________                                              
Preferred Dates : ______________________
One sentence describing your work:


You may email completed prospectus and pay via Paypal (available on our website) or print and mail with your check.  

Ceres Gallery   547 West 27th St.  Suite 201   NYC 10001  Tu-Sa 12-6pm Th 12-8pm 
 Contact info:  212-947-6100

Alzheimer ...

Ideas, Initatives,..reflexion...

check out Le bonheur dans le Jardin d’Hedwig

Par Benjamin Chaix le 16.03.2011 à 22:50

more infos.

Heart’s Home

A presence of compassion...

Heart’s Home is an inter­na­tional Catholic non-profit orga­ni­za­tion founded in 1990 to foster and spread a cul­ture of com­pas­sion.
We are a global net­work of vol­un­teers who assist and form deep per­sonal bonds with trou­bled, dis­ad­van­taged and socially iso­lated indi­vid­uals in some of the world’s most des­perate areas. Heart’s Home is active on five con­ti­nents, with 41 cen­ters in 22 coun­tries.
Heart’s Home also runs the International Center for a Culture of Compassion (ICCC) sem­inar and retreat facility in Woodbourne, NY. A venue for events such as con­fer­ences, art sem­i­nars, con­certs, exhi­bi­tions and spir­i­tual retreats, the ICCC seeks to incul­cate Heart’s Home’s mes­sage of com­pas­sion into society through a variety of cul­tural path­ways. 

Thursday, June 20, 2013

A propos du Lyon Rouge


18 juin 2013 par Leila El Akroud
  • Issu du partenariat ONLYLYON / M2A, découvrez en exclusivité un nouveau support de communication, véritable cadeau d’affaires de prestige, élégant et original, authentique symbole de la ville de Lyon : « Lion Rouge » !

Véritable symbole de la ville, découvrez ce lion racé et dynamique :

  • Figurine en résine moulée rouge, format 25x12 cm environ
  • Présenté fixé sur son socle blanc laqué personnalisé, de format 24x12 cm
  • Possibilité de personnalisation avec votre logo en dôme résine appliqué
  • Disponible dès le mois de novembre pour vos cadeaux de fin d’année


Une présentation haut de gamme :

  • Boîte « cadeau », véritable écrin, très qualitative, avec système de fermeture aimantée

Commercialisation en avant première, conditions exclusives et limitées dans le temps :

Quantité Minimum: 25 ex
Tableau :

LE nouveau GUIDE est sorti ...

Egypt June 2013

Photo by Arthur Neron-Bancel Egypt  June 2013

Wednesday, June 19, 2013

about Joseph Stella

Stella was born to a middle-class family in Italy, in Muro Lucano, a village near Naples, but came to New York City in 1896 to study medicine.[1] However, he quickly abandoned his medical studies and turned instead to art, studying at the Art Students League and the New York School of Art under William Merritt Chase. His first paintings were Rembrandtesque depictions of city slum life. A remarkable draftsman, he made drawings throughout the various phases of his career, beginning as an academic realist with a particular interest in immigrant and ethnic life. From 1905 to 1909, he worked as an illustrator, publishing his realist drawings in magazines. "He prowled the streets, sketch pad and pencil in hand, alert to catch the pose of the moment, the detail of costume or manner that told the story of a life."[2] In 1908, he was commissioned for a series on industrial Pittsburgh, later published in The Pittsburgh Survey.
Stella returned to Italy in 1909. He was unhappy with America, writing that he longed to be back in his native land after "an enforced stay among enemies, in a black funereal land over which weighed...the curse of a merciless climate."[3] It was a well-timed decision. His return to Europe led to his first extensive contact with Modernism which would would ultimately mold his distinctive personal style, notable for its strong color and sweeping and dynamic lines. By 1911, he had departed Italy, where the omnipresence of the Renaissance presented its own kind of obstacle for contemporary painters, and relocated to Paris. When he arrived, "FauvismCubism, and Futurism were in full swing," he wrote, and "[there] was in the air the glamor of a battle."[4] It was the right place to be, at just the right time, for a man of Stella's curiosity, openness to new trends, and ambition.
In Paris, Stella attended the salon of Gertrude Stein, where he met many other painters. "[Stein] found the big and boisterous painter rather like [her friend, the poet] Apollinaire; they both had a fund of sarcastic wit that was frequently turned on their hosts." Stella's view of his hostess was indeed sarcastic: she sat, he wrote, "enthroned on a sofa in the middle of the room," surrounded by her Cezannes and Picassos, "with the forceful solemnity of a pythoness or a a high and distant pose."[5]
Having met Umberto Boccioni and befriended Gino Severini in Europe, he became associated with the Italian Futurists and began to incorporate Futurist principles into his art, though he was also interested in the structural experiments of the Cubists and the dynamic color of the Fauves.[6] Returning to New York in 1913, he was prepared to give the United States a second try. It was a decision he did not regret, although, as art historian Wanda Corn noted, "his culture shock never abated."[7] He became a part of the Alfred Stieglitz and the Walter Arensberg circles in Manhattan and enjoyed a close relationship with fellow expatriate and leader of the New York Dada movement Marcel Duchamp (Stella and Arensberg accompanied Duchamp to the plumbing supply store in 1917 to purchase the infamous urinal.[8]). As a result of these associations, he had almost as many opportunities as he had known in Europe to be among kindred spirits and to see advanced new art. In 1913, he painted Battle of Lights, Coney Island, one of the earliest and greatest American Futurist works. The legendary[citation needed] Armory Show of 1913, in which he participated, provided him with greater impetus to experiment with modernist styles. Der Rosenkavalier (1914) and Spring (The Procession -- A Chromatic Sensation) (1914–1916) are vigorous color abstractions.
With the Armory Show, Stella also became a much-talked-about figure in the New York art world, an object of virulent attacks from conservative critics who found Modernism threatening and inexplicable and an object of fascination to younger, more adventurous artists. In the view of art historian Sam Hunter, "Among the modern paintings at the Armory Show, Duchamp's Nude Descending a StaircasePicabia's Procession at Seville, and Stella's Futurist Battle of Lights, Coney Island came to exert the most seminal influence on American painters."[9] A friend noted that the painting "caused a general sensation, an artistic upheaval as sudden and unexpected as it was universal [in avant-garde circles]."[10] Collector and art educator Katherine Dreier included Stella among those artists whose work she sought to promote under the auspices of her Societe Anonyme, New York's first museum dedicated exclusively to advanced contemporary art, which opened its doors in 1920.
In New York during the 1920s, Stella became fascinated with the geometric quality of the architecture of Lower Manhattan. In these works he further assimilated elements of Cubism and Futurism. In Brooklyn Bridge (1919), he shows his fascination with the sweeping lines of the Roebling's bridge, a motif he used several years before poet Hart Crane turned to this structure as a symbol of modernity. Stella’s depictions of the bridge feature the diagonal cables that sweep downward forcefully, providing directional energy. While these dynamic renderings suggest the excitement and motion of modern life, in Stella’s hands, the image of the bridge also becomes a powerful icon of stability and solidarity. Among his other well-known paintings is New York Interpreted (The Voice of the City) (1922), a five-paneled work (almost twenty-three feet long and over eight feet high) patterned after a religious altarpiece, but depicting bridges and skyscrapers instead of saints. This work reflects the belief, common at the time, that industry was displacing religion as the center of modern life. The painting is in the collection of the Newark Museum. "At a time when virtually all modernists tried their hand at representing the city," Wanda Corn has written, "Stella's painting is the summa."[11]
In the 1930s, Stella worked on the Federal Art Project and later traveled to Europe, North Africa, and the West Indies, locations that inspired him to work in various modes. He restlessly moved from one style to the next, from realism toabstraction to surrealism. He executed abstract city themes, religious images, botanical and nature studies, erotic and steamy Caribbean landscapes, and colorful still lifes of vegetables, fruits, and flowers.
Stella's works from his post-Armory Show period, however, were problematic for the cultivation of a sustained career. Once he had ceased painting in a Futurist or quasi-Cubist mode and had finished with his period of Precisionist factory images (circa 1920), he was not aligned with any particular movement. His concerns, as well as his approach to painting, became less timely, more personal and idiosyncratic. Tree of Life (1920), like many later Stella works, is "baroque and operatic,"[12] a garden scene out of Bosch, and his figure studies (usually female, often Madonna-like) are decoratively, extravagantly embellished. His numerous floral works border on the surreal but, in their lushness and excess, could not accurately be characterized as a part of the Surrealist movement. Critic Lewis Mumford called him a "puzzling painter" at that point, commenting, "I have seen the fissure between his realism and his fantasy widen into an abyss."[13]
Stella's strong draftsmanship is evident in the many different kinds of images he created throughout his life. He is especially respected today for his portraits on paper drawn in silverpoint, or silverpoint and oil, most from the 1920s. His renderings of Walt Whitman, Marcel Duchamp, the artist Louis Eilsehemius, and his friend, the composer Edgar Varese, are works of exceptional sensitivity to line, facial detail, and the intellectual aura of the sitter.
A lesser-known aspect of Stella's work is the collages he made in the 1920s, consisting of scraps of discarded paper, wrappers (some with the commercial logo or label still visible), and other bits of urban debris, often slashed with brush strokes of paint. Though Stella was "attracted to the grandiose, mechanized aspects of the city, [he] was also drawn to its anonymous, unnoticed discards...the detritus of human existence."[14] These are works in the spirit of the German collage artist Kurt Schwitters and the anti-"high art" ethos of the Dada movement, which always interested Stella.
By the late 1930s, Stella's work attracted considerably less attention than it had in previous decades. His truculent personality had alienated many old friends, and his style no longer spoke to the times.[15] "Stella's health and critical fortunes sank in [the years prior to World War II]. Emotionally cut off from the New York art world, even his retrospective at the Newark Museum in 1939 failed to reestablish him. Though successful as a presentation, the show was less enthusiastically reviewed than Stella had anticipated, and he later complained of not being able to induce anyone living in New York City to see it."[16] Diagnosed with heart disease in the early 1940s and subject to increasing periods of morbid anxiety, he succumbed to heart failure in 1946.