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  • Spotlight on lenticular printing

    Lenticular images give the illusion of depth (3D), movement or merge two different images. They do this by taking images and splicing them into strips these are then interlaced with other images. Over the top of the image is a magnifying lens this is broken up into lenticules which show the view....
    Lenticular images give the illusion of depth (3D), movement or merge two different images. They do this by taking images and splicing them into strips these are then interlaced with other images. Over the top of the image is a magnifying lens this is broken up into lenticules which show the viewer a different image as the image is viewed from different angles. It is a highly specialised process and requires the highest quality precision printing to create a perfect image. Artists such as Peter Blake and Damien Hirst have bought their works to life using the Lenticular printing method. Other artists like Martin Richardson and Julian Opie specialise in producing art that moves or appears 3D David Bowie - Experimental Portrait by Martin Richardson This type of printing has a fascinating history, from seventeenth century Royal portraits, to early corporate advertising, and kitsch memorabilia. In 1692, French painter Bois-Clair discovered he could achieve a multi-dimensional effect on canvas by interposing a grid of vertical lathes between the viewer and the painting. He has been held to be the inventor of two-way paintings but there is evidence that he had been following even older traditions. ‘Turning Pictures’ were known of in the seventeenth century and are referred to by Shakespeare. You can make one of these simple lenticulars using folded paper. The first images to be described as ‘lenticular’ were produced in the 1930s by Victor Anderson. By the late 1940s, Mr Anderson’s company, ‘Vari-Vue’, was producing millions of simple lenticular images a year for everything from postcards of women winking to Cracker Jack prizes, political campaign buttons, and magazine inserts. The technology for lenticular printing gained popularity in the 1960’s and 1970’s featuring on postcards, book covers, rulers and all sorts of printed products. Notable lenticular prints from this time include the limited-edition cover of the Rolling Stone’s album and Roy Lichtenstein’s art work ‘Fish and Sky. In 2004 Chris Levine to created a lenticular portrait of Her Majesty The Queen. Chris’s 21st century work, 'Lightness of Being', was the first ever 3D portrait of The Queen. To create his lenticular print Chris Levine and a technical team took over 10,000 images and 3D data-sets during two sittings at Buckingham Palace, but the portrait is made up of just nine them. Now we have amazing new lenticular from Magnus Gjoen and Eelus with more to come so watch this space for some fantastic moving works of art. View all Lenticular prints $test =
  • Live with the art you love a guide to own art

    At artrepublic we are passionate about making art accessible to all and own art is an amazing way of doing just that. Created by Arts Council England the Own Art scheme enables you to spread the cost of hundreds of limited editions and original works of art. What is Own Art? Own Art is a fantastic....
    At artrepublic we are passionate about making art accessible to all and own art is an amazing way of doing just that. Created by Arts Council England the Own Art scheme enables you to spread the cost of hundreds of limited editions and original works of art. What is Own Art? Own Art is a fantastic scheme enabling you to spread the cost of a wide variety of phenomenal signed limited edition prints and original artworks both framed or unframed. Own Art has been running for over 10 years and has helped many people start collecting contemporary art or simply get an amazing piece of art they love hanging in their home. What can I buy? Own Art loans are available for the purchase of contemporary art and craft of any kind in any media. The works must be by a contemporary artist; meaning the scheme can support today’s living artists through sales of their work. The art must be an original, not a reproduction, and from a limited edition of 150 or less. The idea is to encourage people to invest in the highest quality art where the artist has had a definite creative involvement. Own Art loans allow you to borrow from as little as £100 up to a maximum of £2,000 for the purchase of selected limited edition prints or original art works. There is no limit to the number of times you can use Own Art to build your own art collection. There are also no charges if you decide to pay off the loan early, and you change the date of your monthly direct debit if needed. Artists such as Magnus Gjoen, Peter Blake and Pure Evil are amongst hundreds of sensational artists who have selected prints eligible for purchase with Own Art. Get some great art for as little as £10 a month on Own Art for eligible limited edition prints in the opening price bracket of £100, from amazing artists such as Static , Donk and Joe Webb. If you are buying something more valuable than £2,000 you will be pleased to know that you can use an Own Art loan as a part payment (as long as it is eligible). Please do note that you cannot apply for multiple Own Art loans to cover the costs of a single purchase. You can view hundreds of eligible works of art in the own art section of the website. Who is eligible? Own Art is remarkably easy to use. The only criteria are that you must be – Over the age of 18 A permanent UK resident Working at least 16 hours a week (employed or self-employed) If you’re not working but married to or living with a partner who does have a full time job, you can still apply as long as your partner is happy to have their employment details included on your application. How do I apply? You can apply and even sign you agreement all on line simply select pay by finance from the own art tab on the product page or when you are in the checkout. You can choose exactly how much you want to borrow from Own Art, adjusting the price with the sliding bar. If you are using the scheme as a part payment you then need to pay the remaining balance and follow the prompts to complete the loan application. It is surprisingly easy, but if you do need a hand you can always call us on 0345 646 1234 or email us at support@artrepublic.com.  It can all be done online in a matter of minutes and once we have received your application and it has been approved we will expertly pack your art and send it off to you. We are adding new work to our site all of the time so channel your inner Charles Saatchi or Peggy Guggenheim and have a browse of our current favourites...   $test =
  • Performing for the Camera at Tate Modern

    Performing for the Camera examines the relationship between photography and performance, from the invention of photography in the 19th century to the selfie culture of today. Bringing together over 500 images spanning 150 years, the exhibition engages with the serious business of art and performan....
    Performing for the Camera examines the relationship between photography and performance, from the invention of photography in the 19th century to the selfie culture of today. Bringing together over 500 images spanning 150 years, the exhibition engages with the serious business of art and performance, as well as the humour and improvisation of posing for the camera. Amalia Ulman Excellences & Perfections (Instagram Update, 8th July 2014),(#itsjustdifferent) 2015 Courtesy the Artist & Arcadia Missa The exhibition begins by considering the documentation of important performance works such as Yves Klein’s Anthropometrie de l’epoque blue 1960, a live painting event using the bodies of naked women, as well as key 60s performances by Yayoi Kusama, Marta Minujín and Niki de Saint Phalle. Drawing on an extensive collection of images by Harry Shunk and János Kender, two of the most important photographers to have worked with performance, the exhibition features iconic images and many rarely seen studies, including those revealing how the photomontage of Yves Klein’s famous Leap into the Void 1960 was made. By charting how performers and photographers have also worked collaboratively, the exhibition examines live events that happened solely for the camera. Beginning with some of the earliest works in the exhibition, photographs from Nadar’s studio in 19th century Paris show the famous mime artist Charles Deburau acting out poses as the character ‘Pierrot’. Later works drawing on this same idea include Eikoh Hosoe’s Kamataichi, a collaboration with the choreographer and founder of the Butoh movement Tatsumi Hijikata. This seminal 1969 work is one of the first to have given equal authorial credit to the performing subject and the photographer. Masahisa Fukase From Window 1974 © Masahisa Fukase Archives. Courtesy Michael Hoppen Gallery. The photographic image went on to become an arena within which to act, distinct from the live stage of theatrical or artistic performance, in works by artists like Charles Ray, Carolee Schneemann and Erwin Wurm. These artists often perform for their own cameras, either physically as in Paul McCarthy’s Face Painting – Floor, White Line 1972 or more conceptually through ideas of self-image and fantasy as in the work of Boris Mikhailov. The construction of self-identity and posing is explored through iconic works by Claude Cahun, Man Ray and Cindy Sherman, as well as more recent projects like Samuel Fosso’s African Spirits 2008, in which the artist photographs himself in the guise of iconic figures like Martin Luther King Jr and Miles Davis. The exhibition looks at the innovative and performative approaches taken to self-portraiture by Lee Friedlander, Masahisa Fukase and Hannah Wilke. Identity and self-image were also important for artists like Jeff Koons and Andy Warhol in their own marketing and promotional photographs, and in more playful works like Mike Mandel’s Baseball Photographer Trading Cards 1974 in which photographers pose as ‘collectable’ baseball players. The world of social media is addressed in a key recent work staged on Instagram by Amalia Ulman. The exhibition shows not only that photography has always been performative, but that much performance art is inherently photographic. Performing for the Camera 18 February – 12 June 2016 Tate Modern Opening Hours: Daily 10.00 – 18.00 Fri & Sat: 10.00 - 22.00 $test =
  • Botticelli Reimagined at the V&A museum London

    500 years after death of Sandro Botticelli this major exhibition at the V&A will explore the variety of ways artists and designers from the Pre-Raphaelites to the present have responded to his artistic legacy. Venus, 1490s by Sandro Botticelli, Gemäldegalerie Staatliche Museen zu Berlin Preu....
    500 years after death of Sandro Botticelli this major exhibition at the V&A will explore the variety of ways artists and designers from the Pre-Raphaelites to the present have responded to his artistic legacy. Venus, 1490s by Sandro Botticelli, Gemäldegalerie Staatliche Museen zu Berlin Preußischer Kulturbesitz, Photo: Volker-H. Schneider Botticelli is now recognised as one of the greatest artists of all time. His celebrated images are firmly embedded in public consciousness and his influence permeates art, design, fashion and film. However, although lauded in his lifetime, Botticelli was largely forgotten for more than 300 years until his work was progressively rediscovered in the 19th century. Telling a story 500 years in the making, Botticelli Reimagined will be the largest Botticelli exhibition in Britain since 1930. Including painting, fashion, film, drawing, photography, tapestry, sculpture and print, the exhibition will explore the myriad of ways that artists and designers have reinterpreted Botticelli. It will include over 50 original works by Botticelli, alongside works by artists such as Dante Gabriel Rossetti, Edward Burne-Jones, William Morris, René Magritte, Elsa Schiaparelli, Andy Warhol and Cindy Sherman. Botticelli Reimagined will be divided into three major sections, entitled: Global, Modern, Contemporary; Rediscovery and Botticelli in his own Time. Rebirth of Venus, 2009 by David LaChapelle, Creative Exchange Agency, New York, Steven Pranica / Studio LaChapelle, (c) David LaChapelle Global, Modern, Contemporary will show how Botticelli’s imagery attained its present level of acclaim. This section is dominated by The Birth of Venus, depicting the naked Venus emerging from a shell on the seashore, which cannot leave its permanent display in the Uffizi Gallery, Florence. Andy Warhol’s Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482) (1984) accommodates the face and flowing hair of Botticelli’s icon in his signature flat style and bold palette, while Yin Xin’s Venus After Botticelli (2008) reinterprets Venus with an Asian appearance. The familiar pose of Botticelli’s figure can be seen in David LaChapelle’s saturated and artificial Rebirth of Venus (2009), and Reineke Dikjstra’s Beach Portraits (1992) show adolescents as monumental figures against the water’s edge. A dress and trouser suit of patchwork panels from The Birth of Venus from Dolce & Gabbana’s S/S 1993 collection will be shown with two Elsa Schiaparelli evening dresses (1938) ornamented with embroidered foliage, inspired by Pallas and the Centaur. Botticelli’s influence on film includes the sequence of Ursula Andress emerging from the sea clasping a conch shell from Dr No (1962) and an excerpt from The Adventures of Baron Munchausen (1988) in which Uma Thurman re-enacts The Birth of Venus. Functioning like the large-scale frescoes he studied in Italy, Bill Viola’s Going forth by Day is a digital image cycle inspired by Botticelli’s inventions. In 5th surgery performance - Operation opera (1994) ORLAN has plastic surgery to mimic Botticelli’s Venus as part of a performance series rewriting Western art through her own body. This section will also include Tamara de Lempicka’s trompe-l’oeil Painting with a Botticelli (1946) which presents Botticelli as the key to art, as well as key works by Robert Rauschenberg, René Magritte and Maurice Denis. La Ghirlandata, 1873 by Dante Gabriel Rossetti, © Guildhall Art Gallery 2015, Photo: Scala, Florence/Heritage Images Rediscovery will trace the impact of Botticelli’s art on the Pre-Raphaelite circle during the mid-19th century. Dante Gabriel Rossetti, John Ruskin and Edward Burne-Jones all collected Botticelli’s work, and his aesthetic was reinterpreted in Rossetti’s La Ghirlandata (1873) and Burne-Jones’ The Mill: Girls Dancing to Music by a River (1870-82). The Florentine master’s celebrated Primavera haunts this section, as is shown by William Morris’ The Orchard (1890), a tapestry depicting medieval ladies in a bountiful scene, Evelyn De Morgan’s Flora (1894) illustrating the nymph of flowers, and the only surviving film of Isadora Duncan dancing (c.1900). Copies of The Birth of Venus by Edgar Degas and Gustave Moreau (1859) as well as Etienne Azambre’s Two Women copying Botticelli’s fresco of Venus and the Graces (1894) demonstrate the vogue for copying his work. Botticelli’s European influence is manifest in major paintings by Jean-Auguste-Dominique Ingres, Arnold Böcklin and Giulio Aristide Sartorio. Pallas and the Centaur, c.1482 by Sandro Botticelli, © Galleria degli Uffizi, Florence, 2015, Photo: Scala, Florence - courtesy of the Ministero Beni e Att. Cultura The final section of the exhibition arrives at Botticelli in his Own Time. This will show that Botticelli was both a supremely skilled artist and a designer of genius who ran a highly successful workshop. Exhibits will include his only signed and dated painting The Mystic Nativity (1500), three portraits supposedly of the legendary beauty Simonetta Vespucci, and the exquisitely detailed Pallas and the Centaur (1482), travelling to London for the first time. A number of variations on the Virgin and Child thematic in different formats will illustrate Botticelli’s creativity as a designer, while a spectacular group of his rare graphic corpus including five of his drawings of Dante’s Divine Comedy reflect his skill as a draughtsman. The show will close with two monumental fulllength paintings of Venus, reprising the heroine of The Birth of Venus, and will also feature the V&A’s Portrait of a Lady known as Smeralda Bandinelli (c. 1470-5), formerly owned by Rossetti and restored especially for this exhibition. Victoria and Albert Museum London Opening Hours: Daily: 10.00 – 17.45 Fri: 10.00 – 22.00 $test =
  • Vogue 100: A Century of Style is at the National Portrait Gallery

    Vogue 100: A Century of Style is at the National Portrait Gallery, London, from 11 February – 22 May 2016, sponsored by Leon Max. This major new exhibition at the National Portrait gallery celebrates 100 years of cutting-edge fashion, beauty and portrait photography by British Vogue. Linda Ev....
    Vogue 100: A Century of Style is at the National Portrait Gallery, London, from 11 February – 22 May 2016, sponsored by Leon Max. This major new exhibition at the National Portrait gallery celebrates 100 years of cutting-edge fashion, beauty and portrait photography by British Vogue. Linda Evangelista by Patrick Demarchelier, 1991 ©The Condé Nast Publications Ltd Vogue 100: A Century of Style will showcases the remarkable range of photography that has been commissioned by British Vogue since it was founded in 1916, telling the story of one of the most influential fashion magazines in the world.Theamed by decades the exhibitions explores British Vogue’s unfaltering position at the forefront of new fashion, its dedication to the best in design, and its influence on the UK’s wider cultural stage. Exquisite vintage prints from the early twentieth century, ground-breaking photographs from renowned fashion shoots, unpublished work and original magazines will be brought together in this first retrospective survey of the celebrated magazine. Fashion is Indestructible by Cecil Beaton, 1941 ©The Condé Nast Publications Ltd Included in the exhibition are works by many of the leading twentieth-century photographers, including Cecil Beaton, Lee Miller, Irving Penn and Snowdon as well as more recent work by celebrated photographers David Bailey, Corinne Day, Patrick Demarchelier, Nick Knight, Herb Ritts and Mario Testino. I the photographs You can also see many of the faces that have shaped the cultural landscape of the twentieth century, from Henri Matisse to Francis Bacon, Lucian Freud and Damien Hirst; Marlene Dietrich to Gwyneth Paltrow; Lady Diana Cooper to Lady Diana Spencer; and Fred Astaire to David Beckham. Also featured in the exhibition will be the fashion designers that defined the looks of the century, including Dior, Saint Laurent and McQueen. Highlights of the exhibition include the entire set of prints from Corinne Day’s controversial Kate Moss underwear shoot, taken in 1993 at the pinnacle of the ‘grunge’ trend; Peter Lindbergh’s famous 1990 cover shot that defined the supermodel era; a series of exceptional Second World War photographs by Vogue’s official war correspondent, Lee Miller; a rare version of Horst’s famous ‘corset’ photograph from 1939, which inspired the video for Madonna’s hit song Vogue; and vintage prints by the first professional fashion photographer, Baron de Meyer. The National Portrait Gallery, London Opening Hours: Daily 10.00 – 18.00 Turs & Fri: 10.00 – 21.00 $test =
  • Jackson Pollock at MoMA

    Jackson Pollock: A Collection Survey, 1934–1954 This exhibition covers Jackson Pollock’s work from the 1930s until his 1956 death at the age of 44. The works are taken from the Museum of Modern Art’s unparalleled collection of Jackson Pollock’s works. 50 works representing every phase of t....
    Jackson Pollock: A Collection Survey, 1934–1954 This exhibition covers Jackson Pollock’s work from the 1930s until his 1956 death at the age of 44. The works are taken from the Museum of Modern Art’s unparalleled collection of Jackson Pollock’s works. 50 works representing every phase of the artist’s career and the wide range of materials and techniques that he employed are on show in the exhibition. Jackson Pollock (American, 1912-1956). One: Number 31, 1950. 1950. Oil and enamel paint on canvas, 8′ 10″ x 17′ 5 5/8″ (269.5 x 530.8 cm). The Museum of Modern Art, New York. Sidney and Harriet Janis Collection Fund (by exchange), 1968. © 2015 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York Over the course of two decades, Pollock’s work progressed from mythical, primal figures and scenes; to imagery that combines elements of representation and abstraction; to the radical “drip” paintings that mark the climax of his career. With these culminating works, which envelop the viewer through their monumental scale and all over markings, Pollock emerged at the forefront of the post-World War II movement known as Abstract Expressionism. His innovations helped make this the first American art movement to wield international influence. They had an explosive effect on the traditions of painting and opened up new avenues for sculpture and performance art as well. Jackson Pollock (American, 1912-1956). The She-Wolf. 1943. Oil, gouache, and plaster on canvas, 41 7/8 x 67″ (106.4 x 170.2 cm). The Museum of Modern Art, New York. Purchase, 1944 © 2015 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York In addition to One: Number 31, 1950 (1950)—arguably Pollock’s greatest masterpiece and one of his largest canvases—the exhibition also features drawings and exceedingly rare and little-known engravings, lithographs, and screenprints, highlighting an underappreciated side of one of the most important and influential American artists of the 20th century. Bringing these works together underscores the relentless search for new expressive means and the emphasis on experimentation and process that were at the heart of Pollock’s creativity. Now until Sunday, May 1 The Museum of Modern Art (MoMA) New York Opening Hours Daily 10:30 – 17:30, Friday 10:30 – 20:00 View all Jackson Pollock prints available on artrepublic.com $test =
  • PatnDon: Artist Interview

    PatnDon are an artist duo that share a unique vision and way of making art, communicating their idea in variety media including print, text, video, painting and photography. Their practice manifests in a number of different ways with contrasting themes: from paying homage to the costumes of T....
    PatnDon are an artist duo that share a unique vision and way of making art, communicating their idea in variety media including print, text, video, painting and photography. Their practice manifests in a number of different ways with contrasting themes: from paying homage to the costumes of The Prince of Pop, Michael Jackson to creating a number of bespoke cabinets containing detritus and ephemera collected over a lifetime. We caught up with the pair to find out more about what they do and their past. Who exactly are PatnDon? P: PatnDon are Patricia and Donald. The ‘n’ represents the way in which we pronounce ‘and’. D: We like to think that it’s Yorkshire dialect but really it’s just slovenly and common and can’t really be attributed towards slang. How would you describe your work?  P: We have, with a varying degrees of success, incorporated painting, sculpture, screen printing, text video, utter nonsense and ‘cheap stand up’ in our exploration and yearning for Artistic endeavour. D: I suppose that it is quite typical to describe our work as autobiographical, but it is the most appropriate term for it. But then I suppose that all artist’s work can’t be anything other than autobiographical! P: We believe that our work carriers comprehensive pretensions, but we are just as satisfied if our work merely makes the viewer smile. What would you say are the benefits of working as part of an artistic duo? P: To a lesser or greater extent everyone strives to make their mark on this world. We just find that by working as a collaborative duo lessens the burden.  D: Our styles certainly complement each other.  P: I tend to paint things.  D: And I tend to build stuff. What is the story behind your Michael Jackson inspired series of images?   P: For quite a while we had yearned to produce a series of abstract paintings. We had devised various formulas to create colourful compositions but everything that we tried seemed too forced, predictable and tiresome. We were beginning to get disillusioned. And then Michael Jackson died and we were suddenly inundated with images in newspapers and magazines of the ‘King of Pop’ and his rather questionable fashion. We suddenly had our source material.  D: The vast majority of the pieces featured glittered and highly glazed elements to represent the glitz and glamour of the man. Out of respect and necessity we set about producing 100 paintings based on the diverse costumes that Michael Jackson once wore. The series included his significant pieces as well as some of his other less obvious creations. Do you listen to anything in particular whilst working?  P: We gravitate towards music that has a story. In the sense that it can be categorised into a beginning, middle and end. Music that allows you to embark on a journey. A climax and an anti-climax. An experience. Songs that haave layers. We are not loyal to any one specific style. We think that Hip-Hop has a lot of merit. How sampling is a marriage of styles. A homage. D: The work that we are producing at the time has a direct correlation with thetype of music that we favour. It seems to be a rather unconscious decision.Ironically, when we spent almost a year creating the Michael Jackson paintings we couldn’t bare to listen to even one of his songs. It would have been overwhelming. Pink Floyd are wonderful. Trent Reznor is a genius. Tom Waits and Nick Cave are incredible storytellers. Where did you both grow up?  P: We grew up in Goole, East Yorkshire. The town is significant for previouslyhaving the honour of being Europe’s largest exporter of wood. And of course it’siconic water towers that closely resemble Salt and Pepper pots .D: The town is now inundated with supermarkets and charity shops. Where did you train? What did training teach you? P: We completed our Foundation course at Selby College. It was an intense and avery humbling experience. It was the first time that we were amongst people who had willingly chosen to be students. We learnt so much. D: Our Tutors at Leeds University were a revelation. They wouldn’t allow you tobe dismissive of anything. Everything could be justified and rationalized. Theyreally steered our practise in a very conceptual direction. Our final piece was toproduce a manual, which the reader, our subject, was invited to use as a guide torealize our work for us. To realize language in a physcial form. To expose andexploit assumptions. It was incredibly well received. What would you say are the main themes you pursue? P: Nothing is particularly off limits. And we think that this is true with the majority of Artists. We all seem to pursue and explore the same main themes.Love, Life and Death are obvious. We do feel that humour is quite understated and generally overlooked in Art. But yet, consider the premise of a joke with most of the Art that you observe and you’ll soon happen upon a punchline. Albeit, it a dark humour in many cases. D: We certainly have a fondness for language and how language can be explored.Especially in the way we use everyday expressions. We all use expressions withlittle or no real consideration but if you were to interpret them literally you would conjure up some wonderful imagery. Which of your works are you most proud of? P: That’s like being asked to choose your favourite Child! We are proud of how all of our ‘projects’ have turned out. We are particularly fond of our on-going Collection Box series. This is by far our rawest and most honest creation. We make bespoke display cabinets and fill them to capacity with items that we haveacquired throughout our life’s. They were initially inspired by disappointingMuseum displays and over cluttered charity shop windows. D: When you begin to consider the designers involved in each item, or theindividuals involved in the packaging of said items, or the amount of peopleinvloved in the distribution of each item then it becomes an incredibly considered project. There are arguably thousands of people indirectly involved in the manufacture of the Collection Box series. What’s the biggest myth about artists? P: I can recall with anger and frustration the time when a relative asked what Iwas studying at University. After my response he proceeded to ask if the windows were clean. D: Even though this was a witty retort, the pre-conception that Artists don’t do alot with their day is incredibly annoying. Being an Artist is not a 9-5. And there iscertainly no such thing as an overnight success. You can trace any Artists successback by years. What’s the best advice anyone ever gave you? P: If in doubt, make it big. Make lots of them. And give it a fancy name. D: That, the cat sat on the mat is not a story. The cat sat on the dogs mat is! What is the greatest threat to art today? PnD: Damien Hirst. P:- IIya & Emilia Kabakov, Fischli & Weiss, Martin Creed, Angus Fairhurst. D: We admire Artists that just seem to do what they want. Individuals who appear carefree and uninhibited in the type of Art that they produce and don’t particularly conform to any assumed type. What work of art would you most like to own? P: A Thousand Years by Damien Hirst. It’s the perfect metaphor for life. I like the imagery of it being the focal point in the lounge and everyone having to live their lives around it. D: Autumn Rhythm (number 30) by Jackson Pollock. I believe that it is withoutquestion the most striking image that I have ever experienced. It’s a knockout. It is arguably the most energetic ‘still’ painting out there. A juxtaposition. It’s passive aggressive. It’s also a reminder that an Artist with a relatively simple, yet original idea can completely change the perception of Art. Finally please describe for us an average day in the life of PatnDon… P: We’ll discuss, deliberate and disagree before finally settling on something to do. There is alot of dialogue between us because we made the bold decision at University to discard our sketchbooks in favour of the actual realization of work. D: Having no tangible plan leads to all many of nonsense. It’s easy to startsomething. But it’s hard to go on. And it’s very difficult to finish. We hate endings.That is a start! artzine your guide to everything that's happening in the art world   View all PatnDon prints and original work available $test =
  • Radical Nudes

    There has been a lot of press recently about the new ground-breaking exhibition of Egon Schiele’s evocative nudes currently on at London’s Cortauld Gallery. It got us at artrepublic thinking about the power of the nude figure in art and also drew us to take a look at some other artists wh....
    There has been a lot of press recently about the new ground-breaking exhibition of Egon Schiele’s evocative nudes currently on at London’s Cortauld Gallery. It got us at artrepublic thinking about the power of the nude figure in art and also drew us to take a look at some other artists who embrace the female form in their work. Egon Schiele was an Austrian figurative painter, (1890 –1918) whose artistic career was cut preciously short when he died suddenly during the great Spanish flu epidemic of the early 20th century. As a protégé of the great Austrian symbolist painter Gustav Klimt, Schiele was known for firmly putting women at the centre of his art, creating intense and sexually charged work. His draughtsmanship and painting style frequently evokes a feeling of unease and anxiety in the viewer with limbs being exaggerated and distorted. Schiele grew up in Austria during a time when sex was celebrated in different forms of art from painting to the composes Gustav Mahler’s exhilarating musical works. The ‘Father of Pyschoanalysis’ Sigmund Freud’s revolutionary essays on sexuality were published at the time Schiele was studying at art college affecting him greatly. Schiele’s work was not appreciated outside of his home country until decades after his death, when he was recognised as one of the most important exponents of Expressionism. In 1912 he was even imprisoned for displaying ‘immoral drawings’ in a place where they were visible to children. He even produced a number of notable self-portraits from his prison cell whilst incarcerated. Sarah Hardacre is a contemporary artist and printmaker who utilises the female nude figure in a very different way in her work. Hardacre is well known for her paper collages and silkscreen prints, which dramatically juxtapose glamour models from vintage ‘Gentlemen’s’ magazines with the stark urban landscape of her hometown Salford. The women in Hardacre’s prints are presented oversized against their backdrops creating a striking balance between the sensual curves of the models with the harshly structured post-war architecture. Hardacre’s use of women in her work is to celebrate the beauty natural female form rather than presenting an image of misogyny. Henri Matisse has seen a resurgence in popularity recently due to the sensational exhibition of his paper cut outs, which was held at the Tate Modern earlier this year. The show was the best attended in the Tate’s history and brought the French artists work to a fresh new audience. Throughout his life Matisse explored the nude female body in his artwork. Arguably his most famous works, which were made toward the end of his esteemed career, were his blue gouache découpées representing elegantly stylised women either seated or standing. Women played an incredibly important role in the life of Matisse with the artist employing the help of several beautiful female studio assistants who would became his muses. Towards the end of career Matisse was virtually bed ridden due to complications from surgery but still created work, drawing from bed, cutting paper that had been painted for him and instructing the fabrication of his work. The female nude is one of the most recognisable and evocative motives in art and is constantly a source of inspiration for a great number of artists regardless of the era, aesthetic style of movement. artzine your guide to everything that's happening in the art world   View all Egon Schiele prints View all Sarah Hardacre prints  View all Henri Matisse prints View all Nudes fine art prints $test =
  • Peter Blake: Classics Revisited

    Peter Blake is a unique artist who loves to revisit his earlier work, re-examining it and further exploring ideas. This can be seen in his fabulous new print, which is a contemporary reworking of an old favourite. Since the mid 80s Blake has been going back over his artwork and updating it....
    Peter Blake is a unique artist who loves to revisit his earlier work, re-examining it and further exploring ideas. This can be seen in his fabulous new print, which is a contemporary reworking of an old favourite. Since the mid 80s Blake has been going back over his artwork and updating it with fresh new versions. This idea of engaging with past reflects Blake’s desire to evoking a strong sense of nostalgia in his work and transport the viewer to different eras. Blake describes his motive for reconsidering his work: “I felt that some of the American Pop artists had only one idea in the early 1960s, then repeated that idea over and over again, mainly for commercial reasons, whereas I had often only painted one picture from an idea, and it would sometimes have been worth further paintings". A fine example of his revisited work is the updated version of the iconic of Sgt Peppers album cover Blake made in 2012 to celebrate his 80th Birthday. The newly revamped work featured a host of Blake’s celebrity friends, contemporary heroes other cultural icons including Kate Moss, Amy Winehouse, David Hockney and Noel Gallagher. Another case of Blake restyling a classic work is his silkscreen print ‘The Second Real Target’ published in 2009 nearly fifty years after he painted the original ‘The First Real Target’, which is now part of the Tate’s collection. The initial painting refers to the work of American artist Jasper Johns, one of Blake’s contemporaries who also incorporated images taken from popular culture into a fine art context. There is a great feeling of continuity when comparing the two target pieces. This leads us on to a very exciting announcement, the release of Peter Blake’s latest incredible print ‘Tiny Tina the Tattooed Lady’, a reworking and of a familiar motif in Blake’s work. His first tattooed lady edition came out back in 1985 with the screen print depicted a blonde woman with a selection of brightly coloured inked designs. The theme of the print fits in with Blake’s love of traditional circuses and the associated characters from various Victorian era shows. Blake made the original painting that inspired the prints, ‘Loelia, World’s Most Tattoed Lady’, back in 1955 while a student at The Royal College of Art. The piece was painted in oils onto a wooden panel in a naïve, folk art style and emerged during Blake’s earliest period of Pop-Art. The art historian Marco Livingstone describes ‘Loelia’ as “a multi-layered proto-Pop painting, which occupies a key position in the history of British Pop Art”. The painting gained international recognition in 2010 when it sold in an auction at Christies for a Blake record of £337,250- double the highest estimate. Peter Blake is well known for continuing to innovate and evolve his artistic practice, favouring new techniques and pushing the boundaries of what is possible in the medium of printmaking. Blake has made his new edition of ‘Tiny Tina’ uniquely customisable, allowing the purchaser the luxury of choosing from 6 different coloured bikinis and hairband when ordering, allowing for a great number of different colour combinations. The additional elements are then collaged onto the finished print. The print is a signed limited edition giclee on 330gsm Somerset Satin paper and is from an edition of just 100. On ‘Tiny Tina’ Blake has seamlessly blended modern and Victorian style illustrations and typography, giving the whole image a simultaneously cotemporary and retro feel. Despite now being in his 80s Peter Blake has always retained a distinct air of coolness and a reputation for staying one step ahead of the avant-garde.It is also very fitting his latest print features a woman adorned with tattoos as the form of body modification is currently at the apex of popularity, with more and more people deciding to have artwork indelibly inked onto their skin. ‘Tiny Tina’ is a fantastic and inventive reinterpretation of an icon Blake image. For the first time the treasured artist has allowed the buyer of the work to decided upon elements of the design and colour scheme. Remember there will only be 100 customisable Tiny Tina’s printed, so move quickly to avoid miss out on this absolute gem! artzine your guide to everything that's happening in the art world   read our Peter Blake biography view all Peter Blake prints Peter Blake: Pop Victoriana '75 Years of The Beano' by Peter Blake $test =
  • artrepublic's trip to New York

    Lawrence and Lindsay from our Brighton gallery have recently been on a transatlantic voyage to New York City, meeting up with some of the hottest artists on their way. Ron English Ron English is one of the most important names in the art world and has played a huge part in elevating street ....
    Lawrence and Lindsay from our Brighton gallery have recently been on a transatlantic voyage to New York City, meeting up with some of the hottest artists on their way. Ron English Ron English is one of the most important names in the art world and has played a huge part in elevating street art to the widely respected position it currently holds.  Also known as ‘The Godfather of Street Art’, English creates pop-hyperrealist oil paintings and sculptures blending surreal humour with subversive irony. The pair from our gallery travelled to English’s expansive studio in upstate New York to view first hand where the magic happens. English has a cast of invented iconic characters that permeate through his work, some of which he releases as limited edition ‘designer vinyl toys’. He also sets up abstract sculptural compositions that he then photographs and uses as a guide to create his paintings. Ron English is a truly unique artist and a rebellious character. He is known to don a yeti suit and roam the woods near his home stalking deer, a creature he loves dearly. We are very excited to reveal that artrepublic will be releasing an exclusive limited edition print by Ron English very soon! Make sure to check this space for more information and the release date of the upcoming brilliant new work. Dan Baldwin Whilst in New York, Lawrence and Lindsay also had the chance to catch up with an old friend of artrepublic, the magnificent Dan Baldwin, who was preparing for his debut solo show in the Big Apple. The exhibition entitled ‘The End of Innocence’, opened on 23rd October in the city’s ultra hip Meat Packing District and covers the full extent of Dan’s immense talent with paintings, ceramics, bronze sculptures and works on paper on display. The new body of work sees Dan explores the notion of loss of innocence as he incorporates incredibly personal ephemera into the work. Objects with great sentimental value including his father’s boxing gloves and son’s baby teether find their way on to the canvases to add real depth and layers of meaning to the exhilarating compositions.  Dan Baldwin continues to take the international art world by storm and reap the rewards of his ambition, ability and relentless hard work. He even took a minute out from hanging the show to spar with Lawrence! Nick Walker  Nick Walker is one of the pioneers of stencil graffiti and made his name on the infamous Bristol street art and graffiti scene of the 1980s. Walker also has a show of new work in New York.  Nick combines stencils with freehand spray painting; this approach allows him to juxtapose photographic style images with the raw mark making that is synonymous with graffiti. Nick has also released a book for his show, with each cover being hand sprayed. It is great to see the genius that is Nick Walker returning to show in galleries after a 4 year absence. The show at 345 Broome Street, in the Bowery, clearly drew inspiration from the city, with his signature man in a bowler hat popping up against at stencilled urban landscape. We can’t wait to see what Nick Walker has in store in for the future particularly on this side of the Atlantic. Buff Monster Lawrence and Lindsay also had the pleasure of meeting the painter, Buff Monster in his New York studio. Buff Monster is force to be reckoned with in the art world having relocated to New York from Hollywood in 2012. He made a name for himself by putting up thousands of hand-silkscreened posters across Los Angeles and other places. Strange happy creatures living in a bubbly landscape and melting ice cream cones characterise his work. His colour of choice, electric pink, is prevalent in his work. Buff Monster loves the colour because it’s a symbol of confidence, individuality and happiness, three integral elements in his work. He cites heavy metal and Japanese culture as other influences. Buff Monster already has a painting in the Bristol Museum’s permanent collection and we would love to see some more of his uplifting and brightly coloured creations over here! view all Ron English prints view all Dan Baldwin prints view all Nick Walker prints artzine your guide to everything that's happening in the art world   $test =

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