magazine

artla
magazine
Artist’s Business: Where to Buy-Who to Hire
Giorgio Tuscani: He Almost Didn’t Get Here
Ivabelle Bernabe: Making A Difference
Eco Warriors: An In-Zane Party
Art Culture: On a Diet of Speed and Money?
Jill Bogdanowicz: A Deeper Kind of Color
artla magazine
may 2012
1 1
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academy
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doing this summer?
learn the buisness of art through our
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Welcome
This magazine is designed to keep you informed and entertained in the
ever-evolving world of ArtLA.com. As the premier company for connecting
artists with interior designers, collectors and other art professionals, ArtLA.com is
focused on keeping a watchful eye on all the developments in the global art
market. We hope that you enjoy our publication, and remember to “like” us on
Facebook .com/ArtLA as our profile is updated daily. For submissions, suggestions or
comments please contact us at [email protected].
Heidi Gray
Co-Founder
ArtLA.com, Inc.
table of contents
04 The Artist’s Business
06 Fresh Canvas Party
08 Color and Light: Jill Bogdanowicz
12 Giorgio Tuscani
14 Art In the Philippians: Ivabelle Bernabe
16 Art In The Fast Lane
Where To Buy-Who To Hire?
The Artist’s
Business
By: Timothy J. Broughton
B
eing an artist in business is a
challenging and rewarding
experience, but not without
obstacles. One of the questions
facing an artist is how to find reliable
quality in their art supplies, and above all,
suitable suppliers and art professionals that
are needed to support your business. In
this article, we will look at some of the
areas that an artist needs do be aware
of before making the purchase or hiring
the expertise. This month we will take a
look at the most common services that
almost every artist needs.
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When buying paints and general art
supplies, it is always wise to put
quality first. You will regret in the long
run if you buy an inferior product, paint
your greatest creation. So, whenever
possible go to the store and sample the
actual paint to make sure that the color
is accurate, and remember that when
buying online the color charts can be
shaded according to your monitor. Over
time they can lose brightness, so it is
always wise to double check the color
you see on your monitor before clicking on
the order.
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One website that allows you to check the
accuracy is: http://jimdoty.com/About/
Monitor_Check/monitor_check.html.
Canvases and structures range in
quality and price and there are
certain retailers who are specialists
in the highest quality canvases and
structures available. Lucius Hudson is
a high-end manufacturer of unique
aluminum frames, and is able to
cover them in a quality fabric of
your choice. For more conventional
products Blick Art Supplies is also
another great source, that has a good
selection of canvas frames, and Los
Angeles area company Graphaids
is known to stock excellent products.
Graphaids also offers a fast online
ordering service.
It has often been said that a frame
can finish a piece of art, or be so
negatively distracting that the work
suffers in the eyes of the viewer. Framing
is therefore vitally important, and again
this area of art product is generally
governed by price. For higher-end
framing
companies,
Beverly
Hills
Picture Framing (310.278.4798) and
Castelli Framing (310.204.6830) are good
sources of supply and will consult with
you to find exactly what you need.
For more affordable frames and superb
quality, we also recommend Sherman
Gallery in Marina del Rey.
artla magazine
Often times artists forget about the
legal aspect of their business. A piece of
original art is property and has to be
protected as such. Also, there are
always other legal considerations such as
exhibition contracts, commissions for works,
and general business considerations. A law
form that has a solid reputation in the field
of representing artist’s interests is the Lowe
Law Group (310.477.5811). They are happy
to assist any artist with legal issues.
Lastly, shipping is something that every
successful artist will have to deal with on
a regular basis, and also one of the most
crucial. If the art arrives damaged then
the artist (and buyer) will have some real
problems. If you choose to use one of the
major carriers like FedEx then you must
make sure that you have excellent
insurance and, most importantly, that
you have packed the work to the highest
standard.
Specialist shipping companies will take
the worry off your shoulders and will
pack, insure and ship your art from one
location. Artpack (310.328.0300) and
Pakmail (626.332.7955) are two companies
with a history of full service shipping, as is
Castelli Framing.
For more information and advice about
important factors regarding running your
art business apply for the ArtLA.com Art
Business Guide ([email protected]), and for
a comprehensive list of businesses please
visit www. http://artla.com/directory/.
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fresh canvas party
A
By: Mira Feldon
rtists Janet Roberts and
Billy Zane along with hosts
Frances Fisher, Shoshana Blank
and Ann Benjamin, daughter of CSC
founders as well as CSC-Benjamin Center
President & CEO Teresa Bond look forward
to commemorate 30 years of service with
30 original fine art pieces sold to benefit
the CSC-Benjamin Center.
In honor of its 30-year anniversary
celebration on Thursday, May 17, 2012,
the
Cancer
Support
Community–
Benjamin Center is bringing together two
exceptional artists, Janet Roberts and Billy
Zane, for an exclusive gallery event to
benefit the organization. The event will
take place at the Museum of Flying in
Santa Monica. Showcasing fifteen
environmentally friendly paintings from
each artist, the proceeds will help sustain
free-of-charge programs offered at the
CSC-Benjamin Center. The organization
is at the forefront of patient-centered
cancer care, which incorporates the
principle that the body and mind are
intrinsically connected, and psychosocial support is a key element for improved quality of life, and may even
help with recovery. As a four-time cancer
survivor and active participant at the
CSC-Benjamin Center, Janet Roberts
uses her art as a means to help others
affected by cancer.
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She paints with an emotional energy
that forms a mental, physical and
spiritual relationship between artist and
canvas, canvas and audience. Roberts
explains that many professionals and
experts within the cancer community speak openly about genetics and
medicine but rarely emphasize the
correlation between quality of life and
health outcomes. In her words, “the
CSC-Benjamin Center is a sanctuary; a
place where people can nurture their
mind, body and soul.”
Janet Roberts has partnered with her
good friend, social activist, actor, and
artist Billy Zane, for this enriching event.
As innovators at the forefront of the
sustainable
art
movement,
both
share a passion for constructing their
pieces with recycled or eco-sustainable
materials. Zane began painting during
the filming of “Titanic,” utilizing only available materials from which to create his
abstract works. Items like old signage,
shipping crates, and shelf liners became
his canvas and soil, clay and wine
became his paint.
Roberts also creates her pieces with
eco-friendly supplies and non-toxic
paints by infusing soy, milk, clay and
organic elements onto organic cotton
and linen canvas.
artla.com
Each brings their distinctive style and
vision to create an incredible display
of masculine and feminine perspective. As “eco warriors” who paint only
using recycled and reclaimed materials
as well as organic paints and cotton,
Janet and Billy strive to push the
envelope, and work outside the box.
Their artwork is making a difference one
painting at a time as they marry art and
wellness together through painting and
a commendable lifestyle. This style of art
is perfect for people looking for “green”
artwork for their homes or for lobbies
and common spaces in green and LEED
certified buildings.
The moment you examine their
artwork, it becomes clear that there’s
a really strong “him and her” angle.
Janet is not only a cancer survivor, but
a hip mom, an environmentalist, and
artist who uses art as her therapy.
Billy on the other hand is an incredible
artist, forward thinker and green
advocate. It is because of their close
friendship that they want to give back to
the Cancer Support Community, which
helps all people affected by cancer
through well-being and the mind body
connection. The center has helped
Janet significantly,
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and together, she and Billy are raising
awareness and funds to support the
organization. From its beginnings 30 years
ago to today, the Cancer Support Community, now headquartered in Washington, D.C., has expanded to 57 chapters,
100 satellite locations (i.e. in-hospital
services) and online support that reach
750,000 people worldwide. Today the
Cancer
Support
Community
–
Benjamin Center continues to serve people
living in West Los Angeles and the broader
Los Angeles community with a full menu
of free-of-charge, essential programs
overseen by licensed therapists including; support groups, mind/body classes,
educational and nutritional workshops,
social activities, and individual counseling
sessions.
Museum of Flying
3100 Airport Avenue
Santa Monica, CA 90405
Thursday, May 17, 2012, 7:00-10:00PM
$250 General Admission, Cocktails,
Hors d’oeuvres and Live Entertainment
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COLOR AND LIGHT
Jill Bogdanowicz
By: Annie Paranto
J
ill
Bogdanowicz’s
artwork
has captured the interest of
everyone at ArtLA. Captivating
and expressive, she portrays more than
just a pretty picture. “When I paint, I
capture the emotion of my subject,
”Jill states in her biography, a modest
statement when it comes to her
profound use of color and light.
Her
breathtaking,
unconventional
style leaves a lasting impression on
anybody that is looking for dynamic
artwork. Jill Bogdanowicz paints brilliant
and colorful masterpieces by exaggerating details in light and texture. She has
established a free flowing style over
the years through her studies in fine art,
architecture, digital coloring, and even
physics. Her paintings are characterized by a sense of movement, vivid
color, and passionate brush strokes.
She is multifaceted in her medium,
using either oil paint or watercolor.
Upon discovering the female portraiture
in Jill Bogdanowicz’s body of work, I was
captivated by her ability to attain what
seems to be the true nature and raw
emotion in each individual.
No Apologies, Oil on Canvas, 48 x 48 inches
Enough, Oil
on Canvas,
48 x 36 inches
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Her paintings are an experience, which
reflects the beauty and variety of color
and emotion on a very personal level.
I later discovered that her daughter
is the inspiration of many of her works.
She uniquely bridges the gap between
dreams and resplendent reality, as her
body of work is both visually alluring
and emotionally charged. Jill Bogdanowicz is exceedingly adept in her craft,
sensing form, contrast, texture and
color in the smallest of details, resulting in
paintings that are simply enticing.
While art has been Jill Bogdanowicz’s
passion and focus for years, she has
spent the past 13 years working as
a post production digital colorist, an
appropriate profession for a light and
color oriented artist. She has studied
in New York and at the University of
Siena, Italy. “Inspired to make sure art was
always a core part of what I chose
to contribute.” Jill has charmed
the art world with her extraordinary
contribution of magnetic paintings.
Please join Jill Bogdanowicz for her
Opening Reception on Saturday,
May 26 from 6:00 - 9:00 pm at the
ArtLA Gallery at Bergamot Station at
2525 Michigan Ave, Bldg. D5,
Santa Monica, 90404 310.315.0282
Cold Morning, Oil on Canvas, 60 x 24 inches
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RALPH LAUREN HOME.COM
www.rlgoins.com
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d
Giorgio Tuscani
From Mud Does The Lotus Flower Grow
By: Timothy J. Broughton
N
Nothing exemplifies the life thus
far of Giorgio Tuscani than this
Buddhist quotation. Simply put,
it means that from tragic and difficult
beginnings wrought with hardship, a
person is able to spread their wings
and achieve great things. This is the life
and art of Giorgio Tuscani. Born in the history blessed city of Verona, Italy, to the
son of an Italian/Jewish mother, and a
Catholic father, Giorgio was adopted
and raised by Protestants in a small,
rural, agricultural town in Texas. These
influences have defined Giorgio’s
unorthodox religious and spiritual
beliefs. The tragedies of Giorgio’s
origins begin even before he was born.
His mother was pregnant with Giorgio
at the age of nineteen, and doctors
had told her that her heart was not
strong enough to carry the unborn
child to birth. Believing that Giorgio was
destined for great things, she decided
to continue. Knowing one day Giorgio
would understand that she risked her life
for him out of love and devotion, and
that he would fulfill the dreams that she
had for him. Sadly, just as the doctors
had predicted, Giorgio’s mother passed
away during her fifth month of pregnancy,
and Giorgio was born prematurely.
artla magazine
Giorgio’s 22-year-old father was in a
state of conflict over this tragic situation.
He loved his baby son, but at the same
time was suffering deeply over the
loss of his young wife. Giorgio’s father
suffered a breakdown and he was
emotionally incapable of taking care
of baby Giorgio. Loving his baby, and
blaming him at the same time for his
wife’s death, was too much for him.
Giorgio’s father decided that he had to
give his son up for adoption. Giorgio’s
maternal grandmother had heard of
a wonderful woman, in far off America
who could give her grandson a good
home. So, Giorgio was sent to live in
rural Texas, where his differences
caused him to be a constant victim of
prejudice and torment. Giorgio did not
look, sound, think, or act like anyone else
in his Texas peer group. He was a lonely,
frightened boy, who did not seem to fit
in anywhere.
Like a lot of children, separated from
their parents, their homeland, their
native language, and rejected by
their peers, Giorgio withdrew into his
own safe little world to do what he did
best; draw and paint, which he did
remarkably well, even at a very early
age. Giorgio also had an invisible friend,
who appeared to him as only a pair of
glowing, transparent white wings.
12
A Love That Will Not Fade, Graphite/acrylic, 44 x 44 inches
At first young Giorgio did not know how to
interpret his vision, and drew a beautiful
white swan, attempting to flesh out and
capture that fleeting image on paper. As
he matured and studied, he realized that his
visions, which remain with him to this day,
are of angels, and that the white dove that
appeared to Noah, and is written about in the
Gospels of Saints Matthew, Mark, Luke and
John, was the Holy Spirit. When Giorgio grew
up, he moved away to college, intent on
submerging himself in his studies, in an urgent
attempt to better understand religion, art,
and his place in the universe; and emerged,
years later, the much enlightened person that
he is today.
Giorgio had always dreamed of traveling
to Israel, and one day his wish was granted
and he made the trip. He instantly felt as if
he had been to Israel before, almost as if he
had come home. Whilst he was there, he
met a rabbi with whom he shared his visions.
The rabbi told Giorgio that he had been
uniquely blessed with knowledge and
insights that very few people in history
have ever been privileged to know. He felt
Giorgio should stay with him and study with
him in Israel, and help him teach.
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artla magazine
The Guardian Of My Soul III, Oil, 60 x 30 inches
Giorgio was overwhelmed, and a little
frightened by the rabbi’s revelations, so
he immediately returned to America to
contemplate his future, and to try to
grasp the full meaning of what he had just
experienced in Israel.
Had his mother been right, was he indeed
destined for something great? Only time
will tell, it is early days yet, and Giorgio’s
life is still continuing to unfold. At his young
age, he is already a published author, an
extremely talented photographer, a prize
winning poet, and a highly collectable,
much sought after Neo-Renaissance artist,
whose storytelling masterpieces have been
shown to great acclaim, on both U.S. coasts
and in his native Italy.
ArtLA is proud to feature the spirited,
thought-provoking depth of Giorgio Tuscani’s
beautiful art. Please join him for his Opening
Reception on Saturday, May 26 from
6:00 - 9:00 pm at the ArtLA Gallery at
Bergamot Station at 2525 Michigan Ave,
Bldg. D5, Santa Monica, 90404 310.315.0282
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Art in the
Philippines
By: Timothy J. Broughton
I
magine the scene, the seaside in
the City of Dipolog in the Philippines,
it’s fiesta time and a group of artists
have created a makeshift gallery off the
beach and are trying to sell their works.
Business is slow, and with just a handful
of people serving as possible “passing
trade” the artists are not overly successful.
Then, Ivabelle Bernabe, an AustralianFilipino artist who has established her
niche in the art world, arrives on the
scene. Realizing that these artists need
help, she ponders for a few moments
then approaches the groups committee. She suggests they start a local Art
Competition for Contemporary Paintings. In May of 2010, the Ivabelle Awards
were established, and the rest, as they
say is history. Ivabelle has committed to
run the competition every other year and
this year looks to be the biggest one yet.
ArtLA: Where do you get your ideas?
What (or who) do you think has been your
biggest influence?
Ivabelle Bernabe: I am always an
independent thinker and stubborn as
I was told. And I remember from when
I was young that I am always the odd
one out because my ideas and the type
of things I like is always different from the
rest. I like psychology, I like to analyze
actions / reactions and understanding the process in between. I realized
recently that most members of my
family are excellent in drawing (brothers,
sisters, niece, nephews and my 2 sons
are very good in art.) I suppose the
combination of my analytical mind with
my family bloodline of good drawers
plus my colorful life experience is what
‘me ‘and my paintings are all about. I
don’t have any particular person in mind.
ArtLA: How long have you been painting?
Ivabelle Bernabe: My first canvas
painting was on done in 2003.
ArtLA: What sort of materials do you use
and how did / do you develop your
technique?
Ivabelle Bernabe: I work and think very
fast when I am in my element. That is why
I like the characteristic of acrylic paint,
fast drying.
ArtLA: Were you interested in art as a
child? How did it express itself then?
Ivabelle Bernabe: My talent in art began
from an early age. Cultural dancing is
my main passion. I also choreograph
dance. I love designing stage costumes
and always having fun playing with
make-up.
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‘Beyond Colors’ series
ArtLA: How would you describe the style
of your art?
Ivabelle
Bernabe:
Abstract
and
semi-abstract contemporary art. I like
negative spaces… and for the viewers, I
was told that it is like filling in the blanks.
I like abstract because it has no rules, no
boundaries and no limitations. Only the
artistic sense will dictate the next move.
According to one of my reviewers,
“Cultural differences and connections
are evident, her Filipino background
is reflected in the way she use colors
and an Australian influence can be
seen within the painting’s structure and
symbolism. This interaction between
cultures brings a freshness and vibrancy
to her work”–
ArtLA: What sort of influence does your
Filipino background have on the art you
produce if any?
Ivabelle Bernabe: My ‘Binary Collection’
series largely reflect my spiritual and
family values that was taken greatly
influenced from my family background
while the more colorful pieces, the
Ivabelle Bernabe: ‘Beyond Colors’
series and the ‘Impulsive Expressions’
are interpretations of the complexities
of my life experiences and interaction
with the people and environment.
ArtLA: What do you see yourself doing in
5 or 10 years time?
Ivabelle Bernabe: I continue to do what
I’m doing now plus more, for sure.
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15
To make a donation or offer your
support to the Ivabelle Awards that
help struggling artists in the Philippines
please contact [email protected].
artla.com
art in the
fast lane
By: Mira Feldon
W
hen we think of speed, some
of us might think of adrenaline,
a rush of blood to the head.
We live in times that expect us to live and
act faster and faster, allowing the thrill of
speed to take over and eradicate any
doubts and concerns. Artists can’t always
afford the luxury to choose the pace they
are producing work and adjust the speed
of their creative process. Simply because
often there isn’t enough time. Speed is a
term that is also used for amphetamine,
a drug that creates an ecstatic illusion of
velocity and energy. Money can have a
similar effect, playing a key component
as the art market’s fuel mixture. Money
accelerates the art market, it dynamizes
it - not only in an economic, but also in
a structural way. But what consequences
does all of this have for the competition? And how do these consequences
affect the contemporary art market?
A quote by Chris Dercon, the director of
the Tate Modern in London which was
taken from a 2006 interview encapsulates the trend: “Nowadays an artist has
seven years to carve out a career.” So
what exactly has changed since the
Avantgarde, back in the days when
making it to the top was a matter of skill
rather than a matter of time and strict
deadlines?
What
distinguishes
today’s
global
contemporary market from the market of
Avantgarde art that originated in Paris in
the early 20th century and that has paved
the way for what we know today?
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16
On the surface, the market does not
seem to have changed much from its
avant-garde days. The market players are
still the same: Artists are taking on the role
of producers, gallery owners are acting as
traders, collectors are acting as buyers and
critics being the judgmental authority, to
only list a few. After all, artistic innovation
and aesthetic competition continue to
dictate the market activity.
Once we take a closer look, it becomes
discernible that throughout the last four
centuries there has been a shift behind
the driving forces of the contemporary
art market. This shift is directly related to a
cultural invention that made a
capitalist market possible in the first
place, and therefore also enabled the art
market in the shape and form as we
know it today: money. Money can be
many different things; it can be a
payment method, a store of purchasing
power, or simply a valuation standard.
First and foremost, money is the
medium that is crucial to implementing
the capitalist basic idea. It is following the
simple principle of investing ones capital in the present in order to gain
monetary profit in the future. This dynamic
has significantly gained velocity over the
recent centuries and it is not just a present
day acceleration, as it manifests itself in
what we know as art booms and crashes.
It is a rather structural dynamic that has
changed the art market significantly.
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Rain, Steam and SpeedThe Great Western Railway
by J.M.W. Turner, 1844
What we see today on the global art
market, is a structural speedup that
transforms artistic performance into
product, and this product is selected
and judged based on it’s marketability. The rivalry on artistic and aesthetic
expression seems to be turning into a rat
race in which the contestants are simply
chasing economic success, all the while
trying to garner as much media
attention as possible. There are relatively
few participants that manage to win this
battle, but the market’s rewards make
the blood, sweat and tears that artists
invest in this competition worth while.
Awareness forms our culture, just as our
culture mints the market. The market’s fast
pace does not only influence how art is
being produced, marketed, evaluated
and selected, but it also affects how art is
being perceived. The constant increase in
artists, artwork, exhibitions, biennials and art
fairs causes talent to drift from one whim
to the next, not knowing exactly what
new trend they will favor or create in the
next moment.
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Speed does not only induce a temporary
ecstatic high, it can also lead to burnout.
The acceleration of the art market and its
transformation into an increasingly speculative business can lead to a dilution of the
very essence of art, generally perceived to
be the creativity, the verve and the audacity
of artists that it takes in order to bring their
visions to life.
Considering these developments it is
time to juxtapose the value of art in
opposition to the ever growing influence
of finance and make an effort to bring
the art back to the foreground again.
In order to appreciate the true value
of art, it takes certain resources that
seem to be dwindling in the fast lane to
success, and have become luxury goods
in our society; leisure, contemplation and
time. So, anybody who truly appreciates
art for art’s sake should take a moment
to remember and realize that perhaps
time isn’t always money.
17
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artla’s search for
student
ARTIST
of the year
Thanks for viewing
Win a $10,000
Cash Prize! Plus an
artla
magazine
Apple MacBook
package, and
much more!
artist must be currently enrolled
as a student to participate
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For advertising opportunities:
email Tim Broughton
at [email protected]
or call 310.586.9789