OUT / AUT

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Art Love 4 Sale
“Be Original Buy Art”

Join us every Friday Saturday and Sunday, December 01 to Jan 15, at OUT / AUT, Gallery of Modern Art, TO.
On popular St. Clair Ave West and help support our Art community of most experienced artists and artisans.
Shop unique Holiday gifts and “Be Original and Buy Art”
🆒 823 St Clair Street West ~ 12am-6pm or by appointment
➡️ Free Admission + Pet Friendly

rePublished by Ranko Pavić ·
December 19, 2023
Anniversary 27 years in Toronto ( 1997 _ 2024 )

Published by Ranko Pavić ·
December 19, 2016

Anniversary 20 years in Toronto ( 1997 _ 2017 )
WE ARE STARTING WHIT THIS>>>> Every true artist cannot remain indifferent to world events. They would not be able to let loose his/her imagination, inspirational desires to create, true feelings and touch with their spiritual side without being in contact with reality. It is especially at the beginning of the 21st century that this reality is more horrible than we’d like it to be. It would be immoral to be aware of all the bombing, terrorism, racism and egoism, that goes on in the world, and still find a way not to reflect upon all of these things through one’s own artwork. In other words it would not be moral to remain passive while the world heads for destruction. It is the absolute duty of each CREATOR to actively participate in his/her time and to formally replicate what they go through. On the critique of his own work, Guernica, Picasso stated: “Who do we think is the artist? A moron who has the eye of a painter, the ears of a musician, and the verse of a poet? An artist is at the same time a politician, someone who is aware and active, no matter if they are beautiful or horrible, sweet or sour. He cannot escape his own reactions to those events, and so he shares them.”
N. P.

Art Love 4 Sale
“Be Original Buy Art”
Join us every Friday Saturday and Sunday, December 01 to Jan 15, at OUT / AUT, Gallery of Modern Art, TO.
On popular St. Clair Ave West and help support our Art community of most experienced artists and artisans.
Shop unique Holiday gifts and “Be Original and Buy Art”
🆒 823 St Clair Street West ~ 12am-6pm or by appointment
➡️ Free Admission + Pet Friendly

Art Love 4 Sale
“Be Original Buy Art”

Join us every Friday Saturday and Sunday, December 01 to Jan 15, at OUT / AUT, Gallery of Modern Art, TO.
On popular St. Clair Ave West and help support our Art community of most experienced artists and artisans.
Shop unique Holiday gifts and “Be Original and Buy Art”
🆒 823 St Clair Street West ~ 12am-6pm or by appointment
➡️ Free Admission + Pet Friendly

Arte Povera ...

È morto Giovanni Anselmo, tra i fondatori dell’Arte Povera Tra i fondatori e i principali esponenti dell’Arte Povera, Giovanni Anselmo è morto il 18 dicembre 2023 a 89 anni

Venezia...

The lady friend of the muse:
Jasna Tijardovic Popovic
R.I.P.

Jasna, iskreni član umetničke familije onostranog Beograda (SKCa) i galerije OUT/AUT. Plačem jer imam za kim!

Preminula Jasna Tijardović Popović 😥
http://www.seecult.org/vest/preminula-jasna-tijardovic-popovic

Marina Abramović

The 2024 Venice Biennale arrives. List of pavilions that have already revealed the artists
Arriva la Biennale di Venezia 2024. Elenco dei padiglioni che hanno già svelato gli artisti

Biennale Arte 2024. Ecco chi sono gli artisti in mostra nei Padiglioni Nazionali Ecco chi sono gli artisti che parteciperanno alla 60. Biennale Arte di Venezia, in programma dal 20 aprile al 24 novembre 2024

PoP in Italia

A Bologna la mostra di uno dei maggiori artisti pop d’Italia Interpretò il pop italiano attraverso una pittura riconoscibile, ma fu anche docente e assessore alla cultura di Bologna. Palazzo Fava rende...

Art Love 4 Sale
“Be Original Buy Art”

Join us every Friday Saturday and Sunday, December 01 to Jan 15, at OUT / AUT, Gallery of Modern Art, TO.
On popular St. Clair Ave West and help support our Art community of most experienced artists and artisans.
Shop unique Holiday gifts and “Be Original and Buy Art”
🆒 823 St Clair Street West ~ 12am-6pm or by appointment
➡️ Free Admission + Pet Friendly

BE ORIGINAL _ MAKE ART >>>

Aleksandr Rodčenko

Infinito sperimentatore. Alexander Rodchenko a Senigallia, la Rivoluzione nella fotografia - ArtsLife "Il nostro dovere è sperimentare": Alexander Rodchenko protagonista della mostra ospitata a Palazzetto Baviera di Senigallia dal 26 ottobre al 20 gennaio.

Medical Aid for Palestinians

cindy sherman, yorgos lanthimos and more artists donate pictures for palestine fundraiser  

A Palestinian activist in The Venice Biennale 2024.

A Palestinian Project Will Be an Official Event at the Venice Biennale A Palestinian art organization based in Berlin and Hebron will present photos of ancient olive trees at next year's Venice Biennale.

25

2023

2017.

Calligraphy performances, homage for Nenad Burgic
Ranko Pavic

Performance NENADIN KRUG, (1990_...)　Prvo izvodjenje performansa Nenadani krug dogodila se 14. avgusta 　1990. god. Na dan i u cas sahrane Nenada Burgica, tragicno preminulog umjetnika i velikog poznavaoca i poklonika Japanske i Kineske kulturne tradicije cije je pojmove u svom stvaralastvu i sam obilato koristio.　U 13h na prvi udar sata Groznjanskog zvonika Ranko Pavic je otpoceo svoj performans ‘nenadanog kruga’ (trajanja tri minuta izmedu prvog i drugog otkucaja sata). U ovom vremenskom sklopu nastat ce radovi-crtezi (26 segmenta) iskljucive gestualne kaligrafije. Taj spoj emotivno-meditativno stvaralackog modusa i povratnog gesta afirmisan u jednom tragicnom trenutku kroz rad pojavu-sliku, posvecenu preminulom prijatelju-umetniku, razvice se tokom vremena i sazreti u jednu reduciranu umetnicku formu. Ovako svedenom formom RP ce nastaviti ucrtaviti jednom godisnje put ka zatvorenom Nenadanom krugu ma gde se nalazio i u ma kojem sustanju bio. Menja se samo vreme, datum ucrtavanja toka kruga neumoljivo za jedan dan. Krug kao znak nije iskljuciv u ovakvoj konotaciji forme jer RP koristi kao polaziste za Nenadani krug i trougao i kvadrat… kasnijim reducivom ne zatice se druga vrsta predznaka. Drugi performans izveden je 15. avgusta 1991. god. U 13h u Groznjanu (u trajanju od tri minute ismedju prvog i drugog otkucaja sata) i sastoji se od tri segmenta nedjeljive cjeline, radjeni prepoznatljivim relevantnim izrazom kaligrafija-performances. Bitnost ideje, polazista i krajnjeg cilja u osnovi svakog performansa (tri performansa-kaligrafije u toku tri godine… do sada je uradjeno 18.) ostala je neumanjena, razvojem preciznostii gesta-poteza i crteza kao krajnjeg produkta forme rada R. Pavica. Papir i tus, dva sama po sebi postavljena cista oblika, u samom toku performansa gotovo da ne mijenjaju svoju cistocu pri ucrtavanju tog zamisljenog kruga. Njihovo znacenje nagalsava i sam autor uplitanjem svog postojanja kroz gestualni iskaz koristenjem povratnog gesta, licnog upotrbnog predmeta. Majicu upotrebljenu kao kist autor je obukao po zavrsetku rada (I performances). Za III performans nenadanog kruga radjen u Grenzach-u (Nemacka) 16. VIII 1992. god. (trajanja tri minuta, ismedju dva otkucaja sata gradskog zvonika autor je samo predvreme izvodjenja organizovao pripremajuci i sakupljajuci recni kamen iz reke Rajne, odredene velicine i oblika. Taj kamen ce kasnije izaci iz konacnog okvira crteza-rada. Tako upotrebni predmet (jedan ostaje u toku-papir, tus, a drugi izlazi iz forme-kamen) povratni gest i drugi pomocni gradbeni delovi performansa potvdjuju svoju vrednost ne samo preko crteza koji kao krajnji product akcije ozivotvoruje ideju vec i kroz tok, put ka zatvaranju kruga nenadanog toka. Prikazom creza-radova u galerijskom prostoru uz propratni materijal (fotografije, upotrebljeni pomocni i gradbeni elementi, upotrebni predmeti, kaligrafske cetkice, tus, kamen, papir…) R. Pavic zeli i sebi i drugima omoguciti uvid u izvornost avangardnosti znaka kaligrafije kruga, performansa. Time se naravno ne zavrsava jedna etapa nekog dugo izmastanog rada vec se upravo zrelim sagledavanjem svih struktura koje tvore ovakav put umetnickog izraza, zeli otvoriti novi izlaz iznuditi novija i drugacija znacenja, sagraditi mocniji most od znakova, smernica putokaza…

Nenad Bracic, 2023

Umetnik i 3 mučenice https://www.facebook.com/agora.art.actionPodržavajte nas iznosom koji sami određujete, na mesečnom nivou: https://www.patreon.com/markazvakaBitcoin podršku š...

Viva México...

In the years between the two World Wars our neighbor south of the border experienced an artistic renaissance that produced the century's most significant mural paintings. Diego Rivera (1886-1957) was at the forefront of this development, the acknowledged leader of a group of artists that included José Clemente Orozco, David Alfaro Siqueiros, Rufino Tamayo, and Rivera's wife Frida Kahlo. The scion of a well-to-do family, Rivera began his art studies at the age of ten in Mexico, and in 1907 went to Paris to continue them. While there he fell under the spell of Picasso's and Braque's new work, and became the first Mexican cubist. By the early 1920s he had developed two new passions, Renaissance frescoes and the social realism of political protest. The first section of this gallery features a representative selection of his paintings, as well as many of his lesser-known murals. The five large series of murals he did in Mexico and the U.S. will be the subject of a special follow-up exhibit.

José Clemente Orozco (1883-1949) was the second of Mexico's great trio of mural painters. Though politically involved in the Mexican Revolution and a committed leftist, his politics flowed more from sympathy with the workers and peasants than any desire to transform the world through social revolution, and he thus managed to avoid the entanglements that the more ideologically inclined Rivera and Siqueiros led themselves into. Unlike his compatriots he did not go to Paris and become a cubist, but was influenced by a local artist, José Guadalupe Posada, and later by Symbolism. From 1922-26 he painted several noteworthy murals in his native Mexico, but his best work may have come during his stay in the U.S. from 1927-34, where his murals for New York's New School of Social Research and Dartmouth College are considered modern classics. He spent the last years of life in Mexico, painting murals and canvases, doing political cartoons, and publishing lithographs. He died in Mexico City in 1949, not long after he finished some wonderful illustrations for John Steinbeck's novel "The Pearl." He is represented here by 83 murals and paintings, including the complete set of murals from "The Epic of American Civilization" at Dartmouth.

The third of the trio, David Alfaro Siqueiros (1896-1974) was as much a political animal as he was a painter. In his teens he fought with Carranza's Constitutional Army, first against the dictator Huerta and then against the challenge mounted by Villa and Zapata. Despite these extracurricular activities he managed to receive an art education and, like so many before him, went to Paris to put the finishing touches on it. There he formed a friendship with fellow countryman Diego Rivera, and, like him, became a cubist. By the time the pair returned to Mexico in 1922 their shared interest in Renaissance frescoes and their political beliefs set them off a new direction that would result in the Mexican Mural Movement. Joined by Jose Clemente Orozco and receiving critical support from José Vasconcelos, a Minister in Álvaro Obregón’s revolutionary government, Rivera and Siqueiros executed a series of murals in public buildings that remain today objects of national pride. Siqueiros doubled as the propagandist of the movement, publishing pamphlets calling for a new art both indigenous and revolutionary, and organizing syndicates of artists to supply it. In 1936, he took a break from painting and went off to Spain to fight Franco's fascists. Uncompromising and doctrinaire -- perhaps a holdover from his strict early education -- he became a confirmed Stalinist, which led to a break with the Trotskyite Rivera. He continued to paint murals and get himself in political trouble right up to the his death in 1974. He is represented here with 82 images.

Until the biopic starring Salma Hayek hit the theaters in 2002, very few Americans had even heard of Frida Kahlo (1907-1954). Her story was a compelling one. A childhood bout with polio left her with deformed legs, and injuries sustained in a trolley car accident at 18 deprived her of the ability to bear children and left her susceptible to recurrent episodes of extreme pain. Despite these difficulties, she taught herself art, and her long (and often stormy) romantic and artistic partnership with Diego Rivera put her right in the center of the maelstrom of Mexican political and artistic activity during the interwar years. A free spirit, she had many affairs, including, according to some accounts, ones with Josephine Baker and Leon Trotsky. Interest in her life has led to growing appreciation of her art, which consists in large part of self-portraits, family portraits, and still-lifes done in a distinctive style drawn from a blend of Mexican and European, primitivist and modernist sources. Sixty-one of her works are included here.

The gallery concludes with a selection of sixteen paintings by some of the other Mexican artists of the period.

SEE ALSO the companion gallery to this one:
* Diego Rivera - The Great Mural Ensembles

For...

Brancusi

BRÂNCUȘI : SURSE ROMÂNEȘTI ȘI PERSPECTIVE UNIVERSALE Este cea mai amplă expoziție Brâncuși organizată în România în ultimii 50 de ani.

When Commodore Perry's warships stormed into Yokohama Bay to "open up" Japan to Western goods and ways, that island nation had been enjoying for several decades a flourishing of the graphic arts so remarkable that only the Italian Renaissance could rival it for the scope and quality of its productions. It too had its roots in a tradition, not in a religious or classical one, but in the ukiyo-e, the "floating world" of the common and quotidian. It too had its special medium, not stationary surfaces magnificently adorned with oil or tempera, but colored woodblock prints, "moveable feasts" that found their way into the abodes of the highest and most humble alike. And they too had their "great masters," their transcendent artists, their Michelangelo and Raphael in Hiroshige and Hokusai. Perry's mission may have been to force the Japanese to open their markets to Western goods and their minds to Western culture, but it proved to be a two-way street. In less than two decades "japonisme" would captivate the French -- always the first to recognize a good thing -- and change Western art forever through the Impressionists.

This gallery is devoted to those two great artists and their greatest series of works. Here you'll find Katsushika Hokusai's celebrated set of 46 Mt. Fuji prints, as well as one of the Fuji sets done by his younger (and perhaps greater) rival, Utagawa (Ando) Hiroshige. They are followed by Hiroshige's best work, the 1834 "Fifty-Three Stages of the Tokaido," and conclude with another of his Tokaido sets, the so-called "Small" Tokaido.

Along with his contemporary Hiroshige, Katsushika Hokusai (1760-1849) was the recognized master of the woodblock print, the most popular art form in Japan during the late Edo period. This series of prints -- with Mt. Fuji viewed from different locations -- is his most widely reproduced work, and the cornerstone of his international reputation. I have tried to identify the locale and history of each print in my comments.

Utagawa (aka Ando) Hiroshige (1797-1858) was Hokusai's successor in the tradition of the ukiyo-e ("pictures of the floating world") woodblock print, and enjoyed an even greater popularity than his predecessor. In his works the art of imperial Japan reaches its apex only a few short years before Commodore Perry's black ships would sail into Yokohama harbor and change Japan forever.

During the Tokugawa period (1603-1868) the Tokaido ("Eastern Sea Route") was a well-maintained road along the Pacific coast of Japan from the sh**unate's capital in Edo (modern Tokyo) to the ancient capital of Kyoto in the south. It was not only the most highly traveled route in Japan, but its most renowned, the subject of many popular guidebooks and series of color prints. Hiroshige made his first trip down the highway in 1831 as part of the delegation that bore an annual gift of horses from the sh**un in Edo to the emperor in Kyoto (see Print 39). Shortly thereafter the first of his Tokaido prints began appearing, with the complete set coming out in 1834. They were an instant success and boosted Hiroshige to the forefront of Japanese artists.

There are fifty-five prints in this series -- one for each "stage," or station, along the road, and one each for the terminal points at the Noshimbashi Bridge in Edo and at Kyoto. I have prefaced the series with a map showing the position of each stage along the route, and added as a postscript in homage to the artist a posthumous portrait done by a disciple.

Thanks to the work of the Japanese scholar Ichitaro Kondo, I've also been emboldened to assume the role of "travel guide" in my comments to each picture, providing a sort of running (and hopefully entertaining) commentary on each stage of the journey. So enjoy your trip down this fabled highway of a long-lost world, so brilliantly preserved for us by the artistry of Hiroshige-san.

This gallery is a completely revised and greatly expanded merging of two previous MWW exhibits.

For more Non-Western art, see these MWW exhibits or Special Collections:
* Hiroshige's Edo - Vistas into the Lost World of Tokugawa Japan
* Hiroshige's Japan - More Vistas into a Lost World
* Museum Without Walls Non-Western Painting
* Museum Without Walls Non-Western Sculpture & Architecture
* The Art of Imperial China (900-1800 AD)

Mostra...

Saša
R I P
Hey druže TOrontoćanski....
Imao sam čast da izlažem fenomenalne skulpture Saše Bukvića u OUT/AUT Gallery of Modern Art u Torontu (Queen St. West) Hvala prijatelju, kako si zanimljiv dobar i veliki umetnik bio znamo svi, a i neposredni poslastičarski ćoek ipo Bio! Slava ti...

Sasha Bukvic (1949-2023) Sarajevo
R.I.P
Hey fellow TORONTONIAN...
I had the honor of exhibiting the phenomenal sculptures of Saša Bukvić at OUT/AUT Gallery of Modern Art in Toronto