Seen/Scene: "A Rare Breed" Animal show at St. Paint

The "Rare Breed", Animal Show was held at Derek Donnelly's Saint Paint gallery. Here are a few pictures from that evening...

There was a DJ and body painting.

Sebastian Coolidge, "Rare Breed"

Saori, "Deer"

Scott "Ark 1" Hillis, "Night Owl"

 

 

Congratulations to all the artists, and Derek/St. Paint for a memorable show.

--- Luis

The "Rare Breed", Animal Show was held at Derek Donnelly's Saint Paint gallery. Here are a few pictures from that evening...

There was a DJ and body painting.

Sebastian Coolidge, "Rare Breed"

Saori, "Deer"

Scott "Ark 1" Hillis, "Night Owl"

 

 

Congratulations to all the artists, and Derek/St. Paint for a memorable show.

--- Luis

reade more... Résuméabuiyad

ARCA Trustee Erik Nemeth on the Political Economy of Cultural Property and A Gap in Cultural Intelligence

ARCA Trustee Erik Nemeth (and a lecturer on Cultural Security during the summer program in Amelia) published two articles on the political economics of cultural property and cultural intelligence last month.

"Alternative Power: Political Economy of Cultural Property" in Columbia's Journal of International Affairs begins:

Last May, The Scream by Edvard Munch set a record for the most expensive painting sold at auction. The $120 million sale at Sotheby’s in New York illustrated a trend in record prices for artworks at auction and in private sales. At the same time, members of the al Qaeda-linked group Ansar Dine started to target mausoleums of Sufi saints in Timbuktu, Mali, and conflict in Syria continued to compromise cultural heritage with the looting of the well preserved Crusader castle, Krak des Chevaliers. The purchase of The Scream and the destruction of the historic monuments represent extremes that derive from the perceived value of art and the strategic value of cultural heritage.

"A gap in cultural intelligence" in The Providence Journal begins:

What the heck happened to cultural sensibilities last year?

 

While collectors bid up record prices for artworks at auction--Edvard Munch's "The Scream" went for $120 million in May--they were criticized for a lack of aesthetic judgment, especially at the premier U.S. fair, Art Basel Miami Beach. And cultural heritage took a turn for the worse as well. Cooperation on repatriation of antiquities was overshadowed by grim reports of wanton destruction of historic sites in Mali and Syria. With both contemporary and ancient art, the desire to collect and possess seemed to outstrip cultural appreciation.

 

High-end collectors and cultural-heritage abusers alike would benefit from a boost in cultural intelligence, or "CQ," to grasp the interrelation of art, culture, economic development, and human rights..

You may follow his studies on the blog Art World Intelligence through the online newspaper Cultural Security News.

ARCA Trustee Erik Nemeth (and a lecturer on Cultural Security during the summer program in Amelia) published two articles on the political economics of cultural property and cultural intelligence last month.

"Alternative Power: Political Economy of Cultural Property" in Columbia's Journal of International Affairs begins:

Last May, The Scream by Edvard Munch set a record for the most expensive painting sold at auction. The $120 million sale at Sotheby’s in New York illustrated a trend in record prices for artworks at auction and in private sales. At the same time, members of the al Qaeda-linked group Ansar Dine started to target mausoleums of Sufi saints in Timbuktu, Mali, and conflict in Syria continued to compromise cultural heritage with the looting of the well preserved Crusader castle, Krak des Chevaliers. The purchase of The Scream and the destruction of the historic monuments represent extremes that derive from the perceived value of art and the strategic value of cultural heritage.

"A gap in cultural intelligence" in The Providence Journal begins:

What the heck happened to cultural sensibilities last year?

 

While collectors bid up record prices for artworks at auction--Edvard Munch's "The Scream" went for $120 million in May--they were criticized for a lack of aesthetic judgment, especially at the premier U.S. fair, Art Basel Miami Beach. And cultural heritage took a turn for the worse as well. Cooperation on repatriation of antiquities was overshadowed by grim reports of wanton destruction of historic sites in Mali and Syria. With both contemporary and ancient art, the desire to collect and possess seemed to outstrip cultural appreciation.

 

High-end collectors and cultural-heritage abusers alike would benefit from a boost in cultural intelligence, or "CQ," to grasp the interrelation of art, culture, economic development, and human rights..

You may follow his studies on the blog Art World Intelligence through the online newspaper Cultural Security News.

reade more... Résuméabuiyad

Continued coverage of the Conference on Protection of Cultural Property in Asia

Textile conservator Julia M. Brennan continues coverage of last month's conference.

The conference was structured into 3 thematic working sessions: Policy and Institutional Framework and Capacity Building (Session 1);  Technical Aspects of Protecting Cultural Heritage Property: Networking with INTERPOL and the International Community (Session 2); and Recovery of Cultural Property, post Theft or Disaster (Session 3).  Here are highlights of a few of the talks: 

Session 1 presentations dovetailed, making a strong case for the use of preventative measures to protect cultural heritage.

Mr. Etienne Clement, Deputy Director of UNESCO, Bangkok gave the opening talk for Session 1 covering national and international laws, international conventions such as the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict; 1970 UNESCO Convention on Illicit Trafficking, and the UNIDROIT. He made a compelling argument for nation states to adopt and use these conventions; teach cultural heritage personnel and police about them; and use them as a foundation tool for combatting the illicit trade in antiquities and art.

Mr. Tshewang Gyalpo, Chief of Bhutan’s Department of Culture, spoke about the country’s national database of heritage; defined Bhutanese heritage; outlined the role of the conservation department and regional cultural officers and the trainings in place to better secure sacred sites.

Mr. Karl-Heinz Kind, INTERPOL, provided an overview of the important and active role that his agency performs, advocating member states to join and participate. The effectiveness of  INTERPOL's stolen works of art database and Project PSCHE (designed to utilize the Italian Carabinieri for the Protection of Cultural Heritage's help in modernizing the database). He emphasized that investigations and recovery are only supported by nations’ involvement and called for greater involvement by nations to make protection of cultural heritage a priority.

Julia Brennan (left) and Fiona MacAlister (right) with
 Dasho Dorjee Tshering, Secretary of Home and Culture

Ms. Fiona Macalister, a disaster preparedness expert from the UK, and I, a textile conservator and consultant for preventative conservation, made the case for employing preventative measures at the front end to protect cultural heritage. Fiona provided a clear blueprint for risk management and disaster planning, outlining different disaster scenarios in the event of  fire, flood, earthquake, and theft and provided standards, checklists, and constructive methods of training. I outlined methods adopted from conservation including secure storage, good protective housings, training of local caretakers and cultural heritage staffs, the importance of detailed and updated documentation, analysis, collaborating with and training of law enforcement, raising public awareness and ownership through media outlets, and engagement of community based groups and tourist infrastructure.

Session 2 featured talks specifically focused on law enforcement efforts to combat the illicit trade. Among the presentators were:

Mr. Gaspare Cilluffo, Customs, Italy, provided an introduction to the law enforcement real time platforms of ARCHEO and COLOSSEUM. He provided clear how-to-use steps for these programs, for both customs and police, in an effort to broaden the international communications and work in real time. He emphasized the goals of sharing information about seizures and new trends, background profiles, best practices, and official consulting experts.

Ms. Silvilie Karfeld, from the German Police, provided extremely useful and creative methods to combat the illicit trade across uncontrolled borders. From the macro of international law enforcement efforts, collaboration between nations, to micro solutions such as neighborhood watch programs, physically marking artifacts as ID, registration of artifacts with cut off dates, pressuring and working with major online sales sites and insurance industry. Like Clement and Brennan, she advocated enhancing the awareness by common people, utilizing the media, and encouraging source countries to take action and monitor the art markets themselves.

Both Mr. Martin Finkelberg, Art Crime Police, The Netherlands, and Mr. Iain Shearer, formerly with the UK Police, gave inspirational and personal talks about investigations and seizures, and the importance of networking. Iain outlined some British successes in seizing illicit Afghan antiquities since 2006. Both an archeologist and police officer, his talk was a lively history of ancient sites and their importance, how they are pillaged, and arrive in the end market. Martin used several case studies to show the success of having informants, a strong prosecutor, utilizing databases, to solve heritage thefts.

Session 3 focused on recovery and methods employed.

Professor Duncan Chappell from Australia outlined several recovery cases in the market country Australia of SEA artifacts and human remains blatantly for sale by BC Gallery:  While some artifacts were recovered or pressure was brought to bear to remove artifacts from sale, the Australian laws are toothless and do not support timely prosecution or seizure. As with many countries, the little slap of the hand does nothing to stem the trade, Professor Chappell said, and called for greater funding for research, investigation and cross border collaboration in the Asian Pacific region.

Major Guy Tubiana, Chief of Security for France’s Museums and Cultural Sites, provided some sound and simple tips for securing sites and training staff. He emphasized the sixth sense of police and security experts, and the constantly changing landscape of theft and trafficking.

Brigadier Kipchu Namgyel, Chief of Royal Bhutan Police, gave an excellent talk about the state of cultural heritage protection in Bhutan, the locations of highest thefts, the incentives and investigation methods employed, and some creative, if not controversial solutions to the problem of chorten vandalism.

The conference concluded with strategic working sessions on each of the three themes. Each group provided a set of recommendations for improving nation’s capacity building, and better protection of cultural heritage though the implementation of specific tasks, many adopted from the three days of presentations.

At the end of three days, attendees took away the strong message that as a global community, we must partner, deploy all the tools possible, engage and maintain strong active relationships across borders, and promote both loss and success more effectively through the media. It also underlined the greater need for the development of stronger Asian participation in law enforcement, liaison with INTERPOL and international customs, and prioritizing the protection of cultural heritage by Asian governments.

This conference was a good first step for combatting the illicit trade in Asia. And, to maintain the momentum, we need to follow up quickly, with additional sessions in Thailand, Singapore, and China, (at the very least), with a focused attempt to identify and bring key law enforcement and cultural heritage professionals to the table. In addition, we could strategically reinforce the message with post conference trainings of law enforcement, customs, and rural caretakers in methods of investigation, analysis, better security, filing stolen art, and monitoring of art sales. Too many major Asian players were missing in Bhutan, but there is a lot of opportunity ahead.  

Website of conference: www.mohca.gov.bt/conference

Published papers forthcoming in 2013

Julia M. Brennan is a Conservator and Cultural Heritage Protection Consultant www.caringfortextiles.com.

Textile conservator Julia M. Brennan continues coverage of last month's conference.

The conference was structured into 3 thematic working sessions: Policy and Institutional Framework and Capacity Building (Session 1);  Technical Aspects of Protecting Cultural Heritage Property: Networking with INTERPOL and the International Community (Session 2); and Recovery of Cultural Property, post Theft or Disaster (Session 3).  Here are highlights of a few of the talks: 

Session 1 presentations dovetailed, making a strong case for the use of preventative measures to protect cultural heritage.

Mr. Etienne Clement, Deputy Director of UNESCO, Bangkok gave the opening talk for Session 1 covering national and international laws, international conventions such as the Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict; 1970 UNESCO Convention on Illicit Trafficking, and the UNIDROIT. He made a compelling argument for nation states to adopt and use these conventions; teach cultural heritage personnel and police about them; and use them as a foundation tool for combatting the illicit trade in antiquities and art.

Mr. Tshewang Gyalpo, Chief of Bhutan’s Department of Culture, spoke about the country’s national database of heritage; defined Bhutanese heritage; outlined the role of the conservation department and regional cultural officers and the trainings in place to better secure sacred sites.

Mr. Karl-Heinz Kind, INTERPOL, provided an overview of the important and active role that his agency performs, advocating member states to join and participate. The effectiveness of  INTERPOL's stolen works of art database and Project PSCHE (designed to utilize the Italian Carabinieri for the Protection of Cultural Heritage's help in modernizing the database). He emphasized that investigations and recovery are only supported by nations’ involvement and called for greater involvement by nations to make protection of cultural heritage a priority.

Julia Brennan (left) and Fiona MacAlister (right) with
 Dasho Dorjee Tshering, Secretary of Home and Culture

Ms. Fiona Macalister, a disaster preparedness expert from the UK, and I, a textile conservator and consultant for preventative conservation, made the case for employing preventative measures at the front end to protect cultural heritage. Fiona provided a clear blueprint for risk management and disaster planning, outlining different disaster scenarios in the event of  fire, flood, earthquake, and theft and provided standards, checklists, and constructive methods of training. I outlined methods adopted from conservation including secure storage, good protective housings, training of local caretakers and cultural heritage staffs, the importance of detailed and updated documentation, analysis, collaborating with and training of law enforcement, raising public awareness and ownership through media outlets, and engagement of community based groups and tourist infrastructure.

Session 2 featured talks specifically focused on law enforcement efforts to combat the illicit trade. Among the presentators were:

Mr. Gaspare Cilluffo, Customs, Italy, provided an introduction to the law enforcement real time platforms of ARCHEO and COLOSSEUM. He provided clear how-to-use steps for these programs, for both customs and police, in an effort to broaden the international communications and work in real time. He emphasized the goals of sharing information about seizures and new trends, background profiles, best practices, and official consulting experts.

Ms. Silvilie Karfeld, from the German Police, provided extremely useful and creative methods to combat the illicit trade across uncontrolled borders. From the macro of international law enforcement efforts, collaboration between nations, to micro solutions such as neighborhood watch programs, physically marking artifacts as ID, registration of artifacts with cut off dates, pressuring and working with major online sales sites and insurance industry. Like Clement and Brennan, she advocated enhancing the awareness by common people, utilizing the media, and encouraging source countries to take action and monitor the art markets themselves.

Both Mr. Martin Finkelberg, Art Crime Police, The Netherlands, and Mr. Iain Shearer, formerly with the UK Police, gave inspirational and personal talks about investigations and seizures, and the importance of networking. Iain outlined some British successes in seizing illicit Afghan antiquities since 2006. Both an archeologist and police officer, his talk was a lively history of ancient sites and their importance, how they are pillaged, and arrive in the end market. Martin used several case studies to show the success of having informants, a strong prosecutor, utilizing databases, to solve heritage thefts.

Session 3 focused on recovery and methods employed.

Professor Duncan Chappell from Australia outlined several recovery cases in the market country Australia of SEA artifacts and human remains blatantly for sale by BC Gallery:  While some artifacts were recovered or pressure was brought to bear to remove artifacts from sale, the Australian laws are toothless and do not support timely prosecution or seizure. As with many countries, the little slap of the hand does nothing to stem the trade, Professor Chappell said, and called for greater funding for research, investigation and cross border collaboration in the Asian Pacific region.

Major Guy Tubiana, Chief of Security for France’s Museums and Cultural Sites, provided some sound and simple tips for securing sites and training staff. He emphasized the sixth sense of police and security experts, and the constantly changing landscape of theft and trafficking.

Brigadier Kipchu Namgyel, Chief of Royal Bhutan Police, gave an excellent talk about the state of cultural heritage protection in Bhutan, the locations of highest thefts, the incentives and investigation methods employed, and some creative, if not controversial solutions to the problem of chorten vandalism.

The conference concluded with strategic working sessions on each of the three themes. Each group provided a set of recommendations for improving nation’s capacity building, and better protection of cultural heritage though the implementation of specific tasks, many adopted from the three days of presentations.

At the end of three days, attendees took away the strong message that as a global community, we must partner, deploy all the tools possible, engage and maintain strong active relationships across borders, and promote both loss and success more effectively through the media. It also underlined the greater need for the development of stronger Asian participation in law enforcement, liaison with INTERPOL and international customs, and prioritizing the protection of cultural heritage by Asian governments.

This conference was a good first step for combatting the illicit trade in Asia. And, to maintain the momentum, we need to follow up quickly, with additional sessions in Thailand, Singapore, and China, (at the very least), with a focused attempt to identify and bring key law enforcement and cultural heritage professionals to the table. In addition, we could strategically reinforce the message with post conference trainings of law enforcement, customs, and rural caretakers in methods of investigation, analysis, better security, filing stolen art, and monitoring of art sales. Too many major Asian players were missing in Bhutan, but there is a lot of opportunity ahead.  

Website of conference: www.mohca.gov.bt/conference

Published papers forthcoming in 2013

Julia M. Brennan is a Conservator and Cultural Heritage Protection Consultant www.caringfortextiles.com.

reade more... Résuméabuiyad

A Couple of Ways of Doing Something: Photographs by Chuck Close/Poems by Bob Holman

Chuck Close, self portrait, Jacquard tapestry.

"Far more interesting than problem solving is problem creation."
                             --- Chuck Close 

A Couple of Ways of Doing Something at the Florida Museum of Photographic Arts with photos by Chuck Close and Poems by Bob Holman is first and foremost a collaborative art exhibit. The pairing of words and pictures is almost as old as photography itself. Bob Holman is a renowned American poet perhaps best known for being the co-founder of the Nuyorican Poet's Cafe. For more on Bob Holman see here [Link]. At the risk of shortchanging the collaboration in some of these works, this review will focus on the images.

Bob Holman and Chuck Close, inkjet print.

Chuck Close is an American artist born in 1940 to artistic parents. When he was 11, his father died, his mother had breast cancer and he suffered from a kidney infection that kept him in bed for a year. By that time it was clear he was dyslexic, and doing badly in school except for art. He earned his MFA at Yale, where abstraction was in vogue. His path veered towards photo-realism at the time. He worked with/from large format Polaroids, experimented with ink and color (which pointed the way to early ink jet printers!). By the 1970's he had become a prominent artist. In 1988, Close suffered from a ruptured spinal artery, which resulted in partial paralysis and confinement to a wheelchair. Close pressed on with his work, and his style became a more abstract. His work can be found in 65+ major collections around the world.

Chuck Close, "Andres", daguerreotype.

Besides the obvious rarity of seeing Chuck Close prints inthe Bay area, this is a very interesting show because many of the same images are shown in inkjet prints, daguerreotypes and Jacquard prints (more on those later).  The way these different media interpret the same images is fascinating.



We're all familiar with the inkjet print. It seems like the default/most conventional print. Almost "natural", though there's nothing natural about any of these 26 x 20 inch prints.

The fifteen daguerreotypes shown have a quality of their own, one many photographers are somewhat familiar with, seeing them exhibited. They also bring in the issue of size, since they're the format of the sheet film in the camera, about 8x10 inches, and viewing angle, to which they are quite sensitive. They have to be viewed up close and one-on-one. It is an intimate experience. They are shown lying flat on a shelf, each with a lid open at an angle to make the images visible.

Both by Chuck Close, Jacquard Tapestries.

At the large end of the scale size-wise, are the Jacquard tapestries. They're about 7x9 ft in size. They are made, like everything else, in China and woven in a computer-controlled loom. The salient quality of these tapestries is the unbelievably luscious and deep blacks. They have a pixel-like base to them, in that if you get close-up, the square weave becomes apparent. Note that these tapestries work like a pointilist painting. The threads are simply black and white. The range of tones is achieved via the weaving.



I checked, and these have been selling recently around the $135000 USD range. They require professional conservators for cleaning.

The differences in scale are as significant as the medium used to embody the image. One notices things in one that are diminished in another. With the large tapestries at the available viewing distance in the gallery, the faces are overwhelming, almost like standing too close to a billboard or mural. Get close and they deconstruct into formal components. One notices details and things like the the quality of the out-of-focus highlights. With the Daguerreotypes, these things recede, and the overall face can be seen with the central area of one's visual field. The Gestalt of the face becomes prominent. With the inkjets, that falls in between the other two.

This show is interesting on several levels: The combination of poetry and imagery, seeing work by Close, and seeing a great illustration on the qualities and limitations of any medium.

Congratulations to Chuck Close, Bob Holman and  FMoPA for a fascinating show.

--- Luis

Exhibition Dates:  January 31, 2013 – March 31, 2013
Opening Reception:  Thursday, January 31, 2013  6:00pm – 8:00pm
Lecture by Deli Sacilotto:  Sunday, February 3, 2013  2:00pm
Poetry Reading by Bob Holman:  Thursday, March 28, 2013   7:00pm
A Couple of Ways of Doing Something features fifteen of Chuck Close’s delicately intimate daguerreotypes (including striking enlargements) of leading contemporary artists, paired with Bob Holman’s witty and beautifully typeset poems. As individual portraits, each daguerreotype offers an intimate and immensely revealing study of the subject, extending the hyperrealist tradition of portraiture for which Close is renowned. In keeping with the exhibition title, Chuck Close, as curator, has included examples of his other works taken from each daguerreotype in a variety of media, including tapestries and photogravures. The collected work becomes a transfixing group portrait of Close’s influential and highly creative circle of friends and colleagues—from Andres Serrano to Cindy Sherman—as well as an exploration of challenging photographic mediums.
Exhibition organized by Aperture Foundation, New York.
Exhibition Sponsors:
       

Chuck Close, self portrait, Jacquard tapestry.

"Far more interesting than problem solving is problem creation."
                             --- Chuck Close 

A Couple of Ways of Doing Something at the Florida Museum of Photographic Arts with photos by Chuck Close and Poems by Bob Holman is first and foremost a collaborative art exhibit. The pairing of words and pictures is almost as old as photography itself. Bob Holman is a renowned American poet perhaps best known for being the co-founder of the Nuyorican Poet's Cafe. For more on Bob Holman see here [Link]. At the risk of shortchanging the collaboration in some of these works, this review will focus on the images.

Bob Holman and Chuck Close, inkjet print.

Chuck Close is an American artist born in 1940 to artistic parents. When he was 11, his father died, his mother had breast cancer and he suffered from a kidney infection that kept him in bed for a year. By that time it was clear he was dyslexic, and doing badly in school except for art. He earned his MFA at Yale, where abstraction was in vogue. His path veered towards photo-realism at the time. He worked with/from large format Polaroids, experimented with ink and color (which pointed the way to early ink jet printers!). By the 1970's he had become a prominent artist. In 1988, Close suffered from a ruptured spinal artery, which resulted in partial paralysis and confinement to a wheelchair. Close pressed on with his work, and his style became a more abstract. His work can be found in 65+ major collections around the world.

Chuck Close, "Andres", daguerreotype.

Besides the obvious rarity of seeing Chuck Close prints inthe Bay area, this is a very interesting show because many of the same images are shown in inkjet prints, daguerreotypes and Jacquard prints (more on those later).  The way these different media interpret the same images is fascinating.



We're all familiar with the inkjet print. It seems like the default/most conventional print. Almost "natural", though there's nothing natural about any of these 26 x 20 inch prints.

The fifteen daguerreotypes shown have a quality of their own, one many photographers are somewhat familiar with, seeing them exhibited. They also bring in the issue of size, since they're the format of the sheet film in the camera, about 8x10 inches, and viewing angle, to which they are quite sensitive. They have to be viewed up close and one-on-one. It is an intimate experience. They are shown lying flat on a shelf, each with a lid open at an angle to make the images visible.

Both by Chuck Close, Jacquard Tapestries.

At the large end of the scale size-wise, are the Jacquard tapestries. They're about 7x9 ft in size. They are made, like everything else, in China and woven in a computer-controlled loom. The salient quality of these tapestries is the unbelievably luscious and deep blacks. They have a pixel-like base to them, in that if you get close-up, the square weave becomes apparent. Note that these tapestries work like a pointilist painting. The threads are simply black and white. The range of tones is achieved via the weaving.



I checked, and these have been selling recently around the $135000 USD range. They require professional conservators for cleaning.

The differences in scale are as significant as the medium used to embody the image. One notices things in one that are diminished in another. With the large tapestries at the available viewing distance in the gallery, the faces are overwhelming, almost like standing too close to a billboard or mural. Get close and they deconstruct into formal components. One notices details and things like the the quality of the out-of-focus highlights. With the Daguerreotypes, these things recede, and the overall face can be seen with the central area of one's visual field. The Gestalt of the face becomes prominent. With the inkjets, that falls in between the other two.

This show is interesting on several levels: The combination of poetry and imagery, seeing work by Close, and seeing a great illustration on the qualities and limitations of any medium.

Congratulations to Chuck Close, Bob Holman and  FMoPA for a fascinating show.

--- Luis

Exhibition Dates:  January 31, 2013 – March 31, 2013
Opening Reception:  Thursday, January 31, 2013  6:00pm – 8:00pm
Lecture by Deli Sacilotto:  Sunday, February 3, 2013  2:00pm
Poetry Reading by Bob Holman:  Thursday, March 28, 2013   7:00pm
A Couple of Ways of Doing Something features fifteen of Chuck Close’s delicately intimate daguerreotypes (including striking enlargements) of leading contemporary artists, paired with Bob Holman’s witty and beautifully typeset poems. As individual portraits, each daguerreotype offers an intimate and immensely revealing study of the subject, extending the hyperrealist tradition of portraiture for which Close is renowned. In keeping with the exhibition title, Chuck Close, as curator, has included examples of his other works taken from each daguerreotype in a variety of media, including tapestries and photogravures. The collected work becomes a transfixing group portrait of Close’s influential and highly creative circle of friends and colleagues—from Andres Serrano to Cindy Sherman—as well as an exploration of challenging photographic mediums.
Exhibition organized by Aperture Foundation, New York.
Exhibition Sponsors:
       

reade more... Résuméabuiyad

The Enchanted Garden - 2013 - commences!

Art Sanctuary's 'Enchanted Garden' - 2013 commences! 

 

'Et parfois il semblait que quelque chose que nous n'avions jamais vu mais longtemps désiré allait arriver, qu'un voile allait se déchirer...'  (Hermann Hesse)

Art Sanctuary is very proud to announce the arrival of French artist Francois Monnet, with a most special collection of 'kakemonos'; a large series of textiles inspired by Norwegian poet Olav H. Hauge

- the creator of the Theme Poem for this  'Enchanted Garden' exhibition - 2013

 

'Det er den draumen' - 'It is That Dream' - 'C'est le rêve'

 

 

Francois Monnet is a most multifaceted artist,

primarily working in photography and theatre/performance.

Having spent many years in Norway, Francois Monnet has translated and published,

as well as performed with, many of Olav H. Hauge's poems,

including the Centennial theatre performance honoring Olav H. Hauge (2008).

 

Francois Monnet's  'kakemonos' series is part of present exhibition

'Meeting Point Wood' -

 

a Norwegian /French collaboration

between Museum of Normandie and Museumssenteret i Hordaland

 

 - Released for exhibition

in 'The Enchanted Garden' of Art Sanctuary, 2013

Sponsored by

 

 

 

 

 

 

The Enchanted Garden will include more aspects of Francois Monnet's art -

more information will follow!

 

In the meantime, visit Francois Monnet's website

 

Art Sanctuary's 'Enchanted Garden' - 2013 commences! 

 

'Et parfois il semblait que quelque chose que nous n'avions jamais vu mais longtemps désiré allait arriver, qu'un voile allait se déchirer...'  (Hermann Hesse)

Art Sanctuary is very proud to announce the arrival of French artist Francois Monnet, with a most special collection of 'kakemonos'; a large series of textiles inspired by Norwegian poet Olav H. Hauge

- the creator of the Theme Poem for this  'Enchanted Garden' exhibition - 2013

 

'Det er den draumen' - 'It is That Dream' - 'C'est le rêve'

 

 

Francois Monnet is a most multifaceted artist,

primarily working in photography and theatre/performance.

Having spent many years in Norway, Francois Monnet has translated and published,

as well as performed with, many of Olav H. Hauge's poems,

including the Centennial theatre performance honoring Olav H. Hauge (2008).

 

Francois Monnet's  'kakemonos' series is part of present exhibition

'Meeting Point Wood' -

 

a Norwegian /French collaboration

between Museum of Normandie and Museumssenteret i Hordaland

 

 - Released for exhibition

in 'The Enchanted Garden' of Art Sanctuary, 2013

Sponsored by

 

 

 

 

 

 

The Enchanted Garden will include more aspects of Francois Monnet's art -

more information will follow!

 

In the meantime, visit Francois Monnet's website

 

reade more... Résuméabuiyad

Coverage of the first Conference on Protection of Cultural Property in Asia (15-18 February 2013, Thimphu, Bhutan)

Snowy entrance to convention center in Thimphu, Bhutan

By Julia Brennan, ARCA Alum 2009

Part I

The Royal Government of Bhutan graciously hosted the first Asian-based cultural security conference, under the auspices of the Ministry of Home and Cultural Affairs (MoHCa), and funded by Interpol and the Norwegian Department of Foreign Affairs. It was the first attempt to bring together professionals in the culture protection and law enforcement sectors to begin to develop networks and alliances in this region. In funding this convening, Interpol’s goal is to launch stronger initiatives with member states in Asia—promoting engagement and information exchange; regular posting on the stolen art database; and sustainable relationships with Asian country law enforcement and customs agencies.

The Royal Government of Bhutan was a gracious and generous host. For many attendees, it was a first visit to this remarkable and beautiful Kingdom.  This gathering was unlike most conferences where attendees are ‘on their own’ for most evenings and free days.  Instead, the foreign guests were treated to well-organized cultural tours of sacred monasteries and museums, and feted with rich local meals, cultural dance programs, comfortable hotels, hot stone baths, and quick shopping sprees - a rich and generous welcome and introduction to Bhutan. Everyone was humbled by the kindness and all-inclusiveness of our hosts.

The marchang, a traditional Bhutanese ceremony, performed.

Opening day began at the National Convention Center started with the marchang, a traditional Bhutanese ceremony performed to promote an auspicious start to a new endeavor. That night, a deep snow fell blanketing the country – an auspicious sign for our forum to protect cultural heritage. We were profusely thanked and blessed, as indeed the deities were pleased with our conference; the much-needed snow heralded a good start to the new year of the Water Snake, a robust harvest, and an end to the forest fires.

In attendance were about 30 international participants and 60 Bhutanese. The Bhutanese representation included the Cultural Officer and local police chief from each of the 20 national districts, as well as professionals from the Ministry of Home and Culture, local museums, and monasteries. Foreign participants came from Germany, Switzerland, France, Italy, The Netherlands, UK, USA, Korea, Australia, Vietnam, China and India. The strongest law enforcement sector heralded from Europe, with the Executive Director of Police Services of Interpol, M. Jean-Michel Louboutin as the Honorable Chief Guest. European police, investigators, criminologists, and customs agents made up the strongest component of the conference.

Interpol's Jean-Michel Louboutin with Brigadier Kipchu Namgyel, Chief of Police Royal Bhutan Police

The 20 presenters, chiefly non-Asian, laid out sound instruments, platforms, and methodologies for combatting the illicit trade and retrieving lost cultural heritage. It was a powerful tool kit that we began with.  It covered national and international laws, conventions, inventories and object ID databases, and international joint customs operations.  Presenters reviewed platforms such as ARCHEO, COLOSEUM, ICOM’s Red List and INTERPOL’s stolen art database.  Additional information was provided about museum security measures; investigations by police and criminologists; the role of prosecutors; the importance of preventative measures adopted from the conservation practice; and grass roots initiatives in culturally-rich areas.  The content-rich agenda even covered liaison with tourist and local infrastructure; use of the media to build awareness and participation; development of emergency and disaster preparedness; and the role of market versus source countries in the fight to protect cultural property.

Sadly, there was little police representation from most Asian countries. Noticeably lacking at this first Asian-based conference were law enforcement, customs, or Ministry of Culture personnel from Thailand, India, Nepal, China, Vietnam, Cambodia, Laos, Myanmar, Sri Lanka, Indonesia, Singapore or Malaysia. Several of these countries - Thailand, China, and Singapore, for example - play major roles in international trafficking and trans-shipment.  Others, such as Cambodia, Laos, Myanmar, and Indonesia, are victims of ongoing looting and theft of their cultural property. The Bhutanese may have benefited the most from this conference, with a strong and broad-based attendance, with several presentations focused on illicit trafficking and theft cases in Bhutan.

There was a paucity of dialogue about other Asian countries, with no mention or discussion of the ever-growing Asian-based market for antiquities. Singapore and Bangkok are both active illicit hubs, with China and Vietnam’s growing population of individuals with purchasing power creating renewed demand for antiquities globally.  Thus, it felt like a missed opportunity to not explore these newly emerging markets and laundering sites. At the same time, perhaps now that the first such gathering is complete, it’s possible that future gatherings will begin to address these major threats to regional cultural heritage.

Bhutan emerged as the star player in this conference and in the protection of their cultural property. A preview of this strong role was the large sign at the national airport customs picturing Bhutanese artifacts and stating “Help Us Protect our Culture and Heritage” (along with caveats, guidelines, and penal consequences). Bhutan is an active member of INTERPOL, with regular communications and postings to INTERPOL’s stolen art database. It also has a sound and growing national database (both written and photographed) of their cultural heritage; training and posting of cultural officers in all the districts widely distributed and culturally-aware police force, and a strong base of nationalism and religious beliefs by the population at large. Bhutan is actively engaged in the protection of their religious heritage and presented several compelling talks focused on the theft and loss, recovery and preventative methods in place.

Bhutanese speakers included: The Minister of Home and Culture, H.E. Lyonpo Minjur Dorji; Mr. Dorjee Tshering, Director General of the Department of Culture; Mr. Tshewant Gyalpo, Director of Department of Culture; and Brigadier Kipchu Namgyel, Chief of Police Royal Bhutan Police.  All gave clear overviews of the current state of cultural property protection, regional statistics of loss, including case studies of the on-going vandalism of remote chortensor stupas. These religious sites are primarily targeted for the possible snatching of the valuable dzi bead, or cat’s eye agates. Since these relic beads are greatly sought after by Taiwanese and Chinese willing to pay tens of thousands of dollars for a stunning example, the thefts continue, perhaps by hire, and certainly executed by a well-greased international smuggling ring. The violation of these sacred protective sites deeply pains the Bhutanese, and steps are being taken to stem the on-going vandalism. Several law enforcement experts from Europe, as well as the deputy director of UNESCO, met with Bhutanese officials to discuss the urgency of this problem, and launch of a strategy and programs to end these thefts.

Ms. Brennan's coverage of the conference will continue tomorrow.

Snowy entrance to convention center in Thimphu, Bhutan

By Julia Brennan, ARCA Alum 2009

Part I

The Royal Government of Bhutan graciously hosted the first Asian-based cultural security conference, under the auspices of the Ministry of Home and Cultural Affairs (MoHCa), and funded by Interpol and the Norwegian Department of Foreign Affairs. It was the first attempt to bring together professionals in the culture protection and law enforcement sectors to begin to develop networks and alliances in this region. In funding this convening, Interpol’s goal is to launch stronger initiatives with member states in Asia—promoting engagement and information exchange; regular posting on the stolen art database; and sustainable relationships with Asian country law enforcement and customs agencies.

The Royal Government of Bhutan was a gracious and generous host. For many attendees, it was a first visit to this remarkable and beautiful Kingdom.  This gathering was unlike most conferences where attendees are ‘on their own’ for most evenings and free days.  Instead, the foreign guests were treated to well-organized cultural tours of sacred monasteries and museums, and feted with rich local meals, cultural dance programs, comfortable hotels, hot stone baths, and quick shopping sprees - a rich and generous welcome and introduction to Bhutan. Everyone was humbled by the kindness and all-inclusiveness of our hosts.

The marchang, a traditional Bhutanese ceremony, performed.

Opening day began at the National Convention Center started with the marchang, a traditional Bhutanese ceremony performed to promote an auspicious start to a new endeavor. That night, a deep snow fell blanketing the country – an auspicious sign for our forum to protect cultural heritage. We were profusely thanked and blessed, as indeed the deities were pleased with our conference; the much-needed snow heralded a good start to the new year of the Water Snake, a robust harvest, and an end to the forest fires.

In attendance were about 30 international participants and 60 Bhutanese. The Bhutanese representation included the Cultural Officer and local police chief from each of the 20 national districts, as well as professionals from the Ministry of Home and Culture, local museums, and monasteries. Foreign participants came from Germany, Switzerland, France, Italy, The Netherlands, UK, USA, Korea, Australia, Vietnam, China and India. The strongest law enforcement sector heralded from Europe, with the Executive Director of Police Services of Interpol, M. Jean-Michel Louboutin as the Honorable Chief Guest. European police, investigators, criminologists, and customs agents made up the strongest component of the conference.

Interpol's Jean-Michel Louboutin with Brigadier Kipchu Namgyel, Chief of Police Royal Bhutan Police

The 20 presenters, chiefly non-Asian, laid out sound instruments, platforms, and methodologies for combatting the illicit trade and retrieving lost cultural heritage. It was a powerful tool kit that we began with.  It covered national and international laws, conventions, inventories and object ID databases, and international joint customs operations.  Presenters reviewed platforms such as ARCHEO, COLOSEUM, ICOM’s Red List and INTERPOL’s stolen art database.  Additional information was provided about museum security measures; investigations by police and criminologists; the role of prosecutors; the importance of preventative measures adopted from the conservation practice; and grass roots initiatives in culturally-rich areas.  The content-rich agenda even covered liaison with tourist and local infrastructure; use of the media to build awareness and participation; development of emergency and disaster preparedness; and the role of market versus source countries in the fight to protect cultural property.

Sadly, there was little police representation from most Asian countries. Noticeably lacking at this first Asian-based conference were law enforcement, customs, or Ministry of Culture personnel from Thailand, India, Nepal, China, Vietnam, Cambodia, Laos, Myanmar, Sri Lanka, Indonesia, Singapore or Malaysia. Several of these countries - Thailand, China, and Singapore, for example - play major roles in international trafficking and trans-shipment.  Others, such as Cambodia, Laos, Myanmar, and Indonesia, are victims of ongoing looting and theft of their cultural property. The Bhutanese may have benefited the most from this conference, with a strong and broad-based attendance, with several presentations focused on illicit trafficking and theft cases in Bhutan.

There was a paucity of dialogue about other Asian countries, with no mention or discussion of the ever-growing Asian-based market for antiquities. Singapore and Bangkok are both active illicit hubs, with China and Vietnam’s growing population of individuals with purchasing power creating renewed demand for antiquities globally.  Thus, it felt like a missed opportunity to not explore these newly emerging markets and laundering sites. At the same time, perhaps now that the first such gathering is complete, it’s possible that future gatherings will begin to address these major threats to regional cultural heritage.

Bhutan emerged as the star player in this conference and in the protection of their cultural property. A preview of this strong role was the large sign at the national airport customs picturing Bhutanese artifacts and stating “Help Us Protect our Culture and Heritage” (along with caveats, guidelines, and penal consequences). Bhutan is an active member of INTERPOL, with regular communications and postings to INTERPOL’s stolen art database. It also has a sound and growing national database (both written and photographed) of their cultural heritage; training and posting of cultural officers in all the districts widely distributed and culturally-aware police force, and a strong base of nationalism and religious beliefs by the population at large. Bhutan is actively engaged in the protection of their religious heritage and presented several compelling talks focused on the theft and loss, recovery and preventative methods in place.

Bhutanese speakers included: The Minister of Home and Culture, H.E. Lyonpo Minjur Dorji; Mr. Dorjee Tshering, Director General of the Department of Culture; Mr. Tshewant Gyalpo, Director of Department of Culture; and Brigadier Kipchu Namgyel, Chief of Police Royal Bhutan Police.  All gave clear overviews of the current state of cultural property protection, regional statistics of loss, including case studies of the on-going vandalism of remote chortensor stupas. These religious sites are primarily targeted for the possible snatching of the valuable dzi bead, or cat’s eye agates. Since these relic beads are greatly sought after by Taiwanese and Chinese willing to pay tens of thousands of dollars for a stunning example, the thefts continue, perhaps by hire, and certainly executed by a well-greased international smuggling ring. The violation of these sacred protective sites deeply pains the Bhutanese, and steps are being taken to stem the on-going vandalism. Several law enforcement experts from Europe, as well as the deputy director of UNESCO, met with Bhutanese officials to discuss the urgency of this problem, and launch of a strategy and programs to end these thefts.

Ms. Brennan's coverage of the conference will continue tomorrow.

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New (Anti) Fashion Blog: St Pete Wears

A new fashion blog focused on St. Pete has emerged. Focused on fashions seen on the street in St Pete, this blog is about what real people are wearing, what one might see on a walk in the area, not the rare thin air of the runways. It is the brainchild of Jennifer Kosharek of Eve N Odd gallery. In the interests of full disclosure, I've contributed one photograph so far. [Link].

Photo by Jennifer Kosharek

A new fashion blog focused on St. Pete has emerged. Focused on fashions seen on the street in St Pete, this blog is about what real people are wearing, what one might see on a walk in the area, not the rare thin air of the runways. It is the brainchild of Jennifer Kosharek of Eve N Odd gallery. In the interests of full disclosure, I've contributed one photograph so far. [Link].

Photo by Jennifer Kosharek

reade more... Résuméabuiyad