The handsome and talented Sandro Kopp will exhibit at the Brachfeld Gallery, Paris France, from October 23-November 12, 2010.
If you’re in Paris, go see. Sandro’s a fine artist and delightful company.
Brachfeld Gallery:
Sandro Kopp-
Not a still frame (hybrid)
October 23rd to November 12th, 2010
78 Rue Des Archives
75003 Paris
France
Opening Friday October 22nd, 19:00 – 22:00
http://www.sandrokopp.com/34.html
www.brachfeldgallery.blogspot.com
Applications Are Now Open for The
2011 Mentoring Program for Immigrant Artists
DEADLINE: Friday, October 15, 2010
NYFA’s Immigrant Artist Project is pleased to announce a call for applications for the fifth year of our flagship Mentoring Program for Immigrant Artists.
The 2011 Mentoring Program will pair approximately 20 emerging foreign-born artists with established artists from the 2010 NYFA Fellowship Program and the folk arts community. These artists will act as one-on-one mentors to their immigrant artist mentees for a period of six months, assisting them in gaining broader access to the New York cultural community by sharing ideas, advice, resources and experiences. Mentors will also guide mentees in achieving one or more specific goals such as composing an artist statement, researching potential venues for showing their work, or completing a grant application. This cycle’s Mentoring Program will take place from January to June of 2011.
Applicants are open to apply in the following artistic disciplines:
Choreography
Folk Perfoming Arts
Music Composition
Painting
Photography
Playwriting/Screenwriting
Video
In general, only artists who work in these disciplines are encouraged to apply; however, an applicant can make the case for working with a mentor in a different discipline.
This is a selective program that is free of charge to accepted participants. The first four cycles of the Mentoring Program were very successful with many participants citing advances in their careers and forming lasting bonds with their mentors and other participants. We look forward to seeing what new partnerships will take form through this year’s program.
We ask that you kindly forward this information to your colleagues, constituents and others who can take advantage of this opportunity.
Mentee applications are due Friday, October 15, 2010, with work samples postmarked by that date. For more detailed information on how to apply, please visit the Mentoring Program page on the NYFA website. Please carefully read the information in this mailing and on the Mentoring Program page before filling out the application.
We will also hold an Informational Session on how to apply to the Mentoring Program at NYFA on Thursday, September 30th, at 6pm. Please email to RSVP.
Eligibility: all applicants must meet the following criteria
Live within the New York Tri-State metropolitan area (NY, NJ, and CT), and are available to meet their mentor personally for a total of at least six hours and attend three group meetings in New York City over the course of the six month cycle (January–June 2011).
Were born outside of the U.S. (Those born in Puerto Rico, Guam, and U.S territories may apply).
Attended at least K – 8 schooling outside the U.S.
Have been actively working and pursuing a career as an artist within the range of 1 -10 years in the U.S.
Identify one or more clear goals to accomplish over the course of the six-month mentorship.
Submit three work samples of recent work produced in the past two years.
Are NOT currently enrolled in a graduate or undergraduate degree program.
Expectations for Mentees
To set realistic goals achievable within a short term program.
To be responsible and take initiative in your own experience; “you will get out of the program what you put into it.”
To participate fully in a one-to-one relationship designed to facilitate personal and professional growth as a working artist.
Please contact the Immigrant Artist Project via email or call Karen Demavivas, IAP Program Officer, at (212) 366-6900 ext. 249, with any questions.
IAP Event Reminder
As part of its Cultural Community Events for Fall 2010, the Immigrant Artist Project is thrilled to collaborate with the Asian American Arts Alliance on “Produce It Yourself: Plays” a lively conversation about producing a play in NYC today. This event will be held tonight at 6:30pm at the Asian Americas Writer’s Workshop. General admission is $10 and only $8 for the mentee alumni of our flagship IAP Mentoring Program.
Funding Support
NYFA is grateful to the Deutsche Bank Americas Foundation for their generous support of the Mentoring Program for Immigrant Artists.
This is not cochineal, and lapis lazuli, and Indian lac, and alum, and linseed oil.
The human being who made this image is not chlorine, and carbon, and magnesium, and sulfur.
This is not 0′s and 1′s.
The copy of this art is not 0′s and 1′s.
The extraordinary human experience of art is not 0′s and 1′s.
This post explains why cartooning is sometimes at its best when the artist doesn’t rely on photoreference. (EDIT: I have not read the comic. But the article makes valid points based on the examples.)
I use a lot of period reference for my work, because on projects like Gone to Amerikay, I must present a convincing picture of a particular time and place. But I use little photo reference for the figures. My custom is to reference the figure photo for no more than the initial rough sketch, after which I toss it and draw from memory.
Some years back, I tried heavy photo reference for my figure work, and not only do I don’t think it improved my drawing or storytelling, it made me neurotically concerned about using reference. Eventually, I became so dependent on photos, I convinced myself I could not draw without them. It took me well over a year to wean myself off the crutch.
I know some cartoonists who never draw without tracing. I’ve gone back to my custom of using reference and then drawing something which looks almost nothing like the reference. I am so much happier.
I think that the rise of computer graphics has decreased the impact of realistic images. Almost anyone can scan in some photos and use filters to make a comic book. Almost anyone can learn to use a Poser program.
One of the interesting things about SF fans who dabble in comics reading is that they often love highly rendered, illustrative comic art no matter how bad the storytelling is. I once heard a woman go off on a painter because you could see his brush strokes.
Comics fans are far more likely to appreciate design, line, and storytelling style.
This is a problem publishers need to consider when they try to market comic adaptations of books to people who are not comics readers: they need to take into account how differently non-comics readers process the pictures.
People who have no understanding of comics won’t notice the lousy lettering in the Twilight manga (and will become hostile when you do, you comic book nerd,) or the stiffly rendered figures and forms and very bad storytelling in some of those other novel adaptations.
But a non-comics reader will look at lots of color or hatching and they think they are looking at Great Comic Art.
Word balloon placement, storytelling…it’s like trying to explain pitch to someone who is tone deaf.
Work Bird swoops in. I must flee.
When: Thursday, July 22nd, 2010, 2:00 – 5:00 pm
Where: Wachtell, Lipton, Rosen & Katz, 51 West 52nd Street, New York, New York 10019
Description:
Art crime is a multi-billion dollar endeavor that affects collectors, dealers, galleries, museums and artists world-wide. The FBI has investigated these crimes for many years, and five years ago established the Art Crime Team to develop a cadre of Special Agents trained specifically in art crime investigations. Although spectacular thefts from major museums capture the headlines, most art thefts in the U.S. are residential burglaries and art fraud is even more rampant. This talk will cover federal jurisdiction, elements of the U.S. criminal statutes, international treaties and conventions, as well as case studies of recent investigations. Basic strategies for protection of collections will also be covered.
Lecturer:
Bonnie Magness-Gardiner
Bonnie Magness-Gardiner is Manager of the Art Theft Program at the Federal Bureau of Investigation. Headquartered in Washington, D.C., the Art Theft Program was established after the looting of the Baghdad Museum in 2004. Dr. Magness-Gardiner coordinates the work of 13 special agents assigned to various geographic regions, and manages the National Stolen Art File. She received her Ph.D. in Near Eastern Archaeology from the University of Arizona. After teaching archaeology for five years, she entered government service as program manager for the Archaeology Program at the National Endowment for the Humanities then became a program manager for the American Memory Project at the Library of Congress. For eight years she was the Senior Cultural Property Analyst for the Department of State, implementing the 1970 UNESCO Convention against illicit traffic in cultural property. She also served as the program manager for cultural heritage restoration projects in Iraq. She has been with the FBI since 2005.
Registration Fees:
VLA Member Attorney or Arts Professional: $200
Non-Member Attorney or Arts Professional: $250
Attendees must register before July 20th and be on the security list to attend. Seating is limited to 30 people. (There is an additional $25 fee if you register after July 15th.)
*3.0 CLE credits, 1 Professional Practice, 1 Skills and 1 Ethics (Approved for Non-Transitional and Transitional Attorneys)
To register and for more information, please see this registration form, or register via phone at 212.319.2787 x1. For more information please contact VLA’s Kathleen Mallaney at 212.319.2787 x12, or via e-mail at kmallaney@vlany.org.
This event is organized and sponsored by Volunteer Lawyers for the Arts.
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