PRAIA DO GUINCHO EM PORTUGAL

Perto de Cascais em Portugal, estende-se num maravilhoso areal a Praia do Guincho, onde o Mar se confunde com a Serra da Sintra, um misto maravilhoso de Serra a Mar. Fica aqui as imagens que valem por mil palavras desta beleza única.

How a Photographer Helped a Georgia Town Desegregate Its Proms

• by Laura C. Mallonee on June 23, 2015
• 0

Gillian Laub, “Shaniqua and Keyke in the parking lot before the black prom” (2008)

GIFs That Bring Street Art to Life

A gif by A.L. Crego of stencil art in La Coruña by Erre (image via Tumblr) composes playful, bizarre GIFs from other people’s street art. Where lines and shapes were formerly static, eyeballs now move, heads bob, and limbs swing. “It’s a meditative way of watching art,” Crego told Hyperallergic.

The Spanish artist has been taking pictures of urban graffiti and murals and making GIFs for several years, but it was only months ago that he thought of putting the two together. “The result surprised me a lot,” he said. “We’re used to watching motionless photos, and when we see some movement in them, it’s unexpected.”

At first Crego only made GIFs from street art in the Spanish city of La Coruña, where he lives. But since the genre is illegal in Spain, he soon expanded the project to include art from around the world, always asking permission from the artists, which include the likes of Nemo, Sr. X, and David de la Mano. “My work wouldn’t exist without them,” he explained.

VIEIRA DA SILVA

 Exposição de pintura de Vieira da Silva no dia do seu aniversário a 13 de Junho na sua Casa Museu em Lisboa.

Biografia   REPORTAGEM DE ANTÓNIO PEREIRA

Era filha do embaixador Marcos Vieira da Silva, falecido em Leysin a 14 de Fevereiro de 1911, e neta materna de José Joaquim da Silva Graça, jornalista, fundador, proprietário e diretor do jornal O Século e proprietário da revista Ilustração Portuguesa, tendo vivido na casa do avô materno, em Lisboa.

Despertou cedo para a pintura. Aos onze anos ingressou na Academia de Belas-Artes, em Lisboa, onde estudou desenhoe pintura. Motivada também pela escultura, estudou Anatomia na Faculdade de Medicina da Universidade de Lisboa.

Em 1928 foi residir para Paris, onde estudou com Fernand Léger, e trabalhou com Henri de Waroquier (1881-1970) eCharles Dufresne. Em Paris conheceu o seu futuro marido, o também pintor Árpád Szenes, húngaro, com quem se casou em 1930.

Fundação Arpad Szenes-Vieira da Silva, Lisboa

Realizou inúmeras viagens à América Latina para participar de exposições, como em 1946 no Instituto de Arquitetos do Brasil (IAB).

Devido ao facto de o seu marido ser judeu e de ela ter perdido a nacionalidade portuguesa, eram oficialmente apátridas. Então, o casal decidiu residir por um longo tempo no Brasil, durante a Segunda Guerra Mundial e no período pós-guerra. No Brasil, entraram em contato com importantes artistas locais, comoCarlos Scliar e Djanira. Ambos exerceram grande influência na arte brasileira, especialmente entre os modernistas.

Vieira da Silva foi autora de uma série de ilustrações para crianças que constituem uma surpresa no conjunto da sua obra. Kô et Kô, les deux esquimaux1 , é o título de uma história para crianças inventada por ela em1933. Não se sentindo capaz de a escrever, a pintora entregou essa tarefa ao seu amigo Pierre Guéguen e assumiu o papel de ilustradora, executando uma série de guaches.

Mais tarde a artista viveu e trabalhou em Paris, no número 34 da rua de l'Abbé Carton, no XIV bairro da cidade.

A partir de 1948 o Estado Francês começa a adquirir as suas pinturas e em 1956 tanto ela como o marido obtêm anacionalidade francesa. Em 1960 o Governo Francês atribui-lhe uma primeira condecoração, em 1966 é a primeira mulher a receber o Grand Prix National des Arts, a 9 de Dezembro de 1977 é agraciada com a Grã-Cruz da Ordem Militar de Sant'Iago da Espada, em 1979, torna-se Dama da Ordem Nacional da Legião de Honra de França e a 16 de Julho de 1988 é agraciada com a Grã-Cruz da Ordem da Liberdade.2

Participou na Europália, em 1992, e veio a morrer nesse ano

A Century of Indigenous Printmaking in North America

by Allison Meier on June 17, 2015

Dennis Belindo (U.S., Kiowa/Navajo; 1938-2009), “Kiowa Blackleggins” (1990), serigraph, 14 3/4 x 11 in. (courtesy Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; & the artist’s estate)

OKLAHOMA CITY — With nearly 100 prints from artists around North America, Enter the Matrix: Indigenous Printmakers at the University of Oklahoma’s Fred Jones. Jr. Museum of Art (FJJMA) celebrates the medium’s rise in the 20th century. The exhibition opened last month, structured around several communities and institutions that elevated printmaking from a complicated reminder of paper’s role in controlling and relocating indigenous tribes, to a dynamic surface of cultural exchange.

The Promise of Glamor and Adventure in Mid-Century Airline Advertising

by Allison Meier on June 12, 2015

Victor Vasarely, “Air France – Amérique du Sud” (1948), stone lithograph (all images courtesy Callisto Publishers)

From the end of World War II to the 1970s, airline travel experienced a revolution in extended routes and better aircrafts. The corporate design evolved alongside, and in Airline Visual Identity: 1945–1975 by Matthias C. Hühne, a new book out from Callisto Publishers, that era of advertising is celebrated with all its promised adventure and glamor.

Cover of ‘Airline Visual Identity: 1945-1975 ‘

Airline Visual Identity is quite a hefty tome, weighing in at about 14 pounds, and isn’t cheap (currently going for $360 on Amazon). Yet it’s likely the most lovingly printed and comprehensive books on airline posters available, with work by design icons like Saul Bass, Massimo Vignelli, and Mary Wells Lawrence alongside anonymous creators. They were all illustrating the romance of distant travel promised by flight, and emphasizing the beauty and power of the advanced airplanes alongside the people and places connected by their routes. The pre-World War II era had its share of experimental design, such as avant-garde artist László Moholy-Nagy working for Imperial Airways, but it really took off in the mid-century, when aircraft technology, which was sped along by the military, was fully adapted for civilian use. The era was also a high point for sleek corporate design, with TWA, for example, commissioning prestigious architect Eero Saarinen for its JFK terminal.
“It was a rebirth for civil aviation, which had been all but suspended during the war,” Hühne writes in an introduction. “The Jet Age began in the late 1950s, and by the mid­-1970s, all major leaps in air travel innovation had been completed — in terms of the size and comfort of air­ craft, as represented by the Boeing 747, in terms of speed, embodied by the supersonic Concorde, and in terms of the availability of destinations.”
Below are some selections from the over 400 pages of Airline Visual Identity, where each poster tells a story about both the airline and the personal opportunities for exploration by its passengers.

Retratos de Festivais históricos e o obscuro Paganismo ainda latente no Reino Unido

Mais de mil anos desde que o cristianismo aumentou a uma posição dominante no Reino Unido, tradições pagãs continuam a prosperar. Eis alguns retratos de como esse paganismo ainda se encontra latente nas indumentárias britânicas.

ISABELLE FARIA NA GALERIA ARTEPERIFÉRICA

Isabelle Faria

LOVE TRUE NATURE, Integrity

How a Long-Lost Silent Film Helped Rescue a Forgotten Kiowa Tipi

by Allison Meier on June 15, 2015

Installation view of ‘Jṑqī́gácút: Tipi With Battle Pictures’ at the Oklahoma History Center (all photos by the author for Hyperallergic)

OKLAHOMA CITY — In 1920, a distinctive tipi painted with horizontal stripes appeared in a silent film called Daughter of Dawn. Notable for its 300-member cast of Kiowa and Comanches who brought their own props and costumes, and even staged a real buffalo hunt, the movie was made at a time when the emerging cowboy-Western was already depicting tribe members as stereotypes. These traditional cultural activities were also illegal, but the US government allowed them to revive temporarily as part of the 80-minute film. After its scarce screenings, Daughter of Dawn was basically forgotten, as was the tipi. Now nearly a century later both are rediscovered, conserved, and on view to the public.

The “Tipi with Battle Pictures” in a scene from the 1920 silent film ‘Daughter of Dawn’ (Mary Buffalo Collection, Oklahoma Historical Society Research Division)

Jam's Session's nas KataKumbas do Lyceu Camões parte II

NESTE SEGUNDO DOCUMENTÁRIO COMEMORATIVO DAS SESSÕES NAS KATAKUMBAS DO LYCEU CAMÕES, ONDE AS JAM'S TINHAM LUGAR E RARAMENTE SE TOCAVAM COVER'S. O QUE CONTAVA ERA O IMPROVISO MUSICAL COM TUDO DE BOM E DE MAU. MAS ERA A ONDA DESTE ESPAÇO QUE DAVA ALMA Á MUSICA, POIS TINHA-SE A SENSAÇÃO DE ESTAR NUM PALCO COM TODO AQUELE SOM E O ESPIRITO DE CONCERTO, FORAM BONS E INESQUECIVEIS MOMENTOS.

The Demolished Buddhas of Bamiyan Are Reborn as 3D Projections

by Allison Meier on June 15, 2015

A 3D projection of one of the destroyed Buddhas of Bamiyan (still via VOA TV Ashna)

This month the two sixth-century Buddhas of Bamiyan demolished in Afghanistan were temporarily returned to their towering places in the Bamiyan cliffs through 3D projection.

The project by Chinese couple Janson Yu and Liyan Huboth was reported on June 7 by the Khaama Press of the Afghan News Agency Network. With the clearance of both the country’s government and UNESCO, the temporary revival was the most recent consideration of how to honor the memory of the statues destroyed by the Taliban in 2001, while respecting the gaping void left by their demolition.

A Sociedade do Espectáculo e o Mundial do Qatar de 2022

As grandes multinacionais que proliferam nesta selva neoliberal, subsidiam os festivais e alienam as pessoas,  a sua critica através da transformação da sua publicidade, em arma de arremesso contra a "Sociedade do Espectáculo", fonte de alienação, servidão e não-Consciência...

Estátua equestre de D. José I ( Visão Nocturna )

A estátua equestre de D. José I, em 2011.

A estátua equestre de D. José I situa-se na Praça do Comércio, na cidade de Lisboa, em Portugal, e é da autoria do escultor Joaquim Machado de Castro. É uma obra escultória notável: trata-se da primeira estátua equestre realizada em Portugal, sendo também, neste país, o primeiro monumentos escultóricos na via pública dedicado a uma pessoa viva. Foi, ainda, a primeira estátua das suas dimensões a ser fundida de um só jacto, em Portugal, e uma das primeiras a sê-lo no mundo.

A estátua resulta do projecto de reconstrução de Lisboa, após o Terramoto de 1755. O desenho da nova Praça do Comércio (localizada onde anteriormente se situava o terreiro do aruinado Paço da Ribeira) ficou ao cargo do arquitecto Eugénio dos Santos, que planeou um monumento ao reiD. José no centro. O alicerce para o pedestal da estátua foi construído de imediato, todavia, à data da morte de Eugénio dos Santos em 1760, a execução da estátua régia é encomendada a Joaquim Machado de Castro, que concebe a estátua tendo por base estudos iniciais de Eugénio dos Santos.1

Sessões Musicais nas KataKumbas do Lyceu Camões (Primeira parte)

DURANTE 3 BONS ANOS, ÁS SEXTAS FEIRAS UM BOM GRUPO DE AMIGOS ENCONTRAVAM-SE PARA LUGAR À MUSICA, AS SESSÕES CORRIAM EM REGIME FREE, PROCURANDO NÃO TOCAR COVER'S, O QUE POR VEZES TORNAVA-SE COMPLICADO A HARMONIA ENTRE ELEMENTOS. NESTES VIDEOS APAREÇO A TOCAR, QUER BATERIA, TECLADOS E O SOPRO, CHAMADO XAPHOON, DAS ILHAS FIDJI. FORAM BONS MOMENTOS QUE GOSTAVA DE CELEBRAR AQUI.

Mysticism Sparkles at Bushwick Open Studios

by Daniel Larkin on June 8, 2015

Michele Silver “Acceptance” (2014) (photo courtesy of the artist)

Mysticism was a recurring motif in several artists’ studios at Bushwick Open Studios. It was so prevalent that this article leaves some notable artists out. On the West Coast, a cliché circulates that New Yorkers are neurotically driven but spiritually empty creatures. No more. There was so much Hocus Pocus in Brooklyn one might be forgiven for assuming BOS was a reenactment of a Portlandia episode.

Why Does Your Brain Crave Mysticism? 

Num parque em Bushwick, as obras estão crescendo em árvores(...)

Na noite de sábado cerca de 300 pessoas desceram sobre o Jardim, decoraram a natureza com sua Arte. Bushwick foi o mote para a exposição com  Pinturas nas árvores, um show do grupo de pinturas, desenhos e esculturas instaladas em todo o espaço disponível no parque, incluindo a árvores. O Jardim foi o espaço da Instalação bem original e sucedida. Painted globes by Julie Torres

The Art of Accumulation at a New Orleans Shrine to the Plague Saint

by Allison Meier on June 3, 2015

Saint Roch Chapel, New Orleans (all photos by the author for Hyperallergic unless noted)

The act of accumulating objects is one of our oldest forms of visual expression. Whether deliberate, like ancient Celtic votive offerings thrown over and over into the same bogs, or unintentional, like the heaps of shells or other food trash from some lost civilization, there is something emotional about these collected objects.

Saint Roch Chapel, New Orleans (click to enlarge)

While in New Orleans last month I visited the chapel at Saint Roch Cemetery, where since the 19th century people have left ex votos in thanks for healing. Ex voto offerings can take many forms at religious sites, from paintings of prayers answered in a Mexican sanctuary to the repeated word “merci,” or “thanks,” carved on plaques in a French church. At Saint Roch they are tributes to healing, a tradition going back to the creation of the cemetery in 1874 following a yellow fever epidemic. The then pastor of Holy Trinity Catholic Church, Father Peter Leonard Thevis, is said to have prayed to Saint Roch for his congregation to be spared, and when they were, he kept his promise to build a chapel to the 14th-century saint. Saint Roch is considered a saint of good health, and in Catholic tradition he’s known to have helped the sick and poor, contracting the plague in the process. A statue on the altar at the New Orleans chapel depicts him with the dog who licked his bulbous plague sores.

The Visual Tricks That Make a Poster Give You Pause

by Allison Meier on May 29, 2015

Andrzej Pagowski, “Dziecko Rosemary (Rosemary’s Baby)” (1984), offset lithograph, 37 1/2 × 26 3/8 in. (all photos by Matt Flynn and courtesy Cooper Hewitt, Smithsonian Design Museum)

Some posters make you pause mid-stride; others disappear into the background like so much white noise. Cooper Hewitt, Smithsonian Design Museum in New York recently opened How Posters Work, with over 125 examples from their over 4,000-strong poster collection to analyze the design strategies that make that difference.
There are periodic museum poster exhibitions that organize around art movements and time periods, or purposes like film or military propaganda, but How Posters Work takes a unique approach in breaking down its objects by 14 design principles. You can view all of the posters from the exhibition online through their collection interface, where they’re organized by different themes like “exploit the diagonal,” “communicate with scale,” “tell a story,” “assault the surface,” and “use text as image.”
These are all pretty broad ideas. However, the exhibition, curated by Senior Curator of Contemporary Design Ellen Lupton, is meant to be an accessible exploration into design, much like the newly reopened Cooper Hewitt museum itself. The show also recognizes the juxtapositions at work, with an initial gallery contrasting both “focus the eye” and “overwhelm the eye.” Victor Moscoso, whose psychedelic 1960s poster work was recently explored at Andrew Edlin Gallery in Chelsea, is at one extreme with his 1966 Junior Wells concert poster that has waves of clashing blue, orange, and acid green radiating through the canvas, your eye not able to settle on any point. Lucian Bernhard’s 1909–10 poster for the Adler typewriter, on the other hand, draws your gaze right to the machine in the foreground with the company name neatly receded to the back.

Considerando a experiência dos imigrantes através de posters politicos dos Estados Unidos

Desde 1989, o Centro para o Estudo da Gráfica políticos em LA acumulou cerca de 85.000 cartazes políticos, incluindo muitos giram em torno de questões de imigração nos Estados Unidos e na Europa

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MUSEU NACIONAL DE ETNOLOGIA

 Exposição Permanente “Animais como Gente, Máscaras e Marionetas do Mali”

Para além destes Itens, temos uma secção de instrumentos populares portugueses, máscaras, figuras de teatro da Ásia e outras peças muito interessantes o que requer uma visita a este fantástico Museu muito bem organizado e num espaço Arquitectónico adequado para tal.

AYAHUASCA CEREMONY

THIS IS A PART OF AN AUTHENTIC CEREMONY THAT WAS FILMED IN THE YEAR OF 2010 IN YACU PUME CENTER. YOU CAN SEE DON JUAN SINGING AN ICARO ( SPIRIT SONG ).

Natalie Frank oferece as Noticias da "Terra do Nunca ".

Muitos contos de fadas são sobre meninas e meninos cujas vidas são controladas pelos impulsos caprichosos de madrastas más, rainhas vãs e pais repressivos.