Sketchbook Paintings of D.Fullerton

Great illustrations and paintings by David Fullerton (thanks Bruno!)http://bit.ly/9ivF4u

Alphachimp @ TEDx Nashville

See more graphic recording from the event on Flickr: images | slideshow

While our visual compatriots Sunni Brown, Austin Kleon and David Gray were cavorting with the SXSW Interactive crowd, we had the honor of providing visual capture for this inaugural TEDx Nashville event focused on the future of health care.

Click to read more ...

FastCompany : Society6 Is Etsy for the Artsy, Crowds Curate

What happens if you take away the curator and leave everything up to your customers?

Society6 aims to find out. Its goals are greater than simply selling high-quality prints. By creating an accessible social network, Society6 has produced a collaborative community of artists and art enthusiasts, where art can be bought, sold, promoted, and created.

"We've sort of taken ourselves out of the equation," said Justin Cooper, who founded the site along with Justin Wills and Lucas Tirigall. "You don't have to get by our personal taste to make your art available for sale. "

Purchased artwork is printed on demand, with Society6 setting a base price to cover production costs and a small profit for the company. The artist (anyone can join) then chooses the mark up and sale price of the piece--giving Society6 a wide range of price points--and when sold, they keep 100 percent of those profits.

NOTE: Check out Etsy art by Peter Durand (http://www.etsy.com/shop/durandgallery
) and Diane Durand (http://www.etsy.com/shop/thislittlefish
).

Art, Art I Want You

For all of your artists or artistic types wondering if what you make, makes a difference. You are not alone.

Music video for Tanya Davis' song Art by Andrea Dorfman.

Art is a kind of innate drive that seizes a human being and makes him its instrument. To perform this difficult office it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being. --Carl G. Jung

(PS. Thanks to Nellie Durand for the link. Nellie makes LOTS of art. Check it out: http://nelliedurand.blogspot.com/)

Calma: To Illustrate a Village

A young Brazilian street artist, Stephan Doitschinoff, composes spectacular murals and applies his extraordinary talent to emblazon houses, churches and walls in rural cities in his South American homeland. You can see his process, involving stencils, religious iconography, and styles referencing folk art, wood cuts, computer-generated gradients and comics.

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I Want You to Want Me

Massive touchscreens. Three-dimensional animation. Realistic interaction. Real-time synthesis of expressions of love, longing and loss by real humans looking for love in the ether of the net by interactive designers of rich-media storytelling platforms, Jonathan Harris.

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Ups and downs of zero gravity art

And I thought creating drawings in front of a live studio audience was tricky!

clipped from www.reuters.com Jul 9 - British artist Nasser Azam goes weightless for his latest creations. Azam led a team of five artists aboard a Russian transport plane specially modified to simulate zero gravity conditions feet for his new project, Life in Space.

Pain as an Art Form

The tortured artist is as predictable a stereotype as the jolly fat man. All art is a form of communication, and most works substitute one sense (sight, sound, taste) for another.

The Pain Exhibit covers just about the entire landscape of life and, consequently, of pain: fear, love, torture, loss of faith, acceptance, hope and transformation.

Some of the images from the exhibit depict the physical side of pain; others convey the emotional challenges of chronic pain.

clipped from well.blogs.nytimes.com Selections from the Pain Exhibit. To see a slide show, click here. Pain doesn’t show up on a body scan and can’t be measured in a test. As a result, many chronic pain sufferers turn to art, opting to paint, draw or sculpt images in an effort to depict their pain. One of the most famous pain artists is Mexican painter Frida Kahlo, whose work, now on exhibit at the Philadelphia Museum of Art, is imbued with the lifelong suffering she experienced after being impaled during a trolley accident as a teenager. Her injuries left her spine and pelvis shattered, resulting in multiple operations and miscarriages, and she often depicted her suffering on canvas in stark, disturbing and even bloody images. The Broken Column, by Frida Kahlo (Banco de México Diego Rivera and Frida Kahlo Museums Trust) “People don’t believe what they can’t see,'’ Mr. Collen said. “But they see a piece of art an individual created about their pain and everything changes.'’

Cherry Blossoms: Mapping the City of Bombs

Discovered via the post "You Don't Understand Our Audience" by Dateline reporter John Hockenberry on http://www.technologyreview.com/

clipped from web.media.mit.edu Cherry Blossoms is a backpack that uses a small microcontroller and a GPS unit. Recent news of bombings in Iraq are downloaded to the unit every night, and their relative location to the center of the city are superimposed on a map of Boston. If the wearer walks in a space in Boston that correlates to a site of violence in Baghdad, the backpack detonates and releases a compressed air cloud of confetti, looking for all the world like smoke and shrapnel. Each piece of confetti is inscribed with the name of a civilian who died in the war, and the circumstances of their death. Alyssa Wright began working on Cherry Blossoms last semester, wondering how to think about — and feel about — the civilian war deaths in Baghdad. Alyssa’s genius was in sacrificing herself. After all, it’s not an easy piece to perform. You don’t know when it’s going to blow. It’s shocking and loud, and one has no sense of how others will react. Of course, she won’t get hurt by the compressed air, but she might well be confused for a suicide bomber (or, more appropriately, a mooninite) and arrested.

Making Art Work @ Catalyst Ranch

This program combines three of our favorite things:

1. The Chicago Art Institute link
2. The ultra-creative environment of Catalyst Ranch link
3. Our friend and colleague Leslie Marquard of Marble Leadership Partners! link
   

clipped from www.catalystranch.com

Article by ALLISON RIGGIO | Contributing Writer | Chicago Journal
http://www.chicagojournal.com/

It may be years since most white-collar businesspeople went to art class, but a new corporate training philosophy might change the way Chicago does business.

The West Loop’s Catalyst Ranch teamed up with the Art Institute to develop an arts-based corporate train­ing philosophy unlike any other.

Aptly named Art-Work, the program utiliz­es the museum’s artwork as a medium for teaching communication and other business-related skills.

Catalyst Ranch, which specializes in hosting eccentric off-site meetings and events for various companies, developed Art-Work in conjunction with the Art Institute as an alternative means to the typical corporate teambuilding activities. The day-long sessions use the museum’s vast collections to illustrate and teach business concepts, and also utilize the creative working environment inside Catalyst Ranch to further develop ideas, according to Bobbie Soeder, explorer/matchmaker (aka vice president of sales and marketing) at Catalyst Ranch.

“Arts-based learning isn’t a new concept,” Soeder said. “But we feel that it’s so timely right now with today’s business climate and the push for creativity and innovation.”

The first half of the session takes place at the Art Institute, where co-workers view hand-selected artworks and discuss how some of the various elements can be related to the business world. Art-Work sessions are co-taught by Sarah Alvarez, the assistant director of Adult Programs in Museum Education at the Art Institute, and a corporate facilitator contracted by Catalyst Ranch. Alvarez brings her knowledge of art history and visual learning to each session while a corporate facilitator is chosen based on their specialized knowledge in one of four categories: communica­tion, creativity and innovation, diversity and inclusion and team and leadership development.

The “Art-Work” training program combines art and corporate business.

“I’ll get a group of people in front of a work of art and I’ll ask every one of them to say the first thing they see,” Alvarez said. “Nine times out of 10 you’ve got almost everybody saying some­thing different. It’s this reminder that we all see the world slightly differently and art is a really great way to have those kinds of discussions about how we see it.”

The second half of the session takes place back at Catalyst Ranch where the group reviews the concepts discussed at the museum and works with Alvarez and the corporate facilitator to make solid connections between the art and their particular business issues.

Facilitators are contracted based on their area of specialization, and Catalyst Ranch chooses from a handful of those known as experts in corporate training. If the staff is having difficulty with communication, Alvarez and the corporate facilitator will choose artwork they feel will help the team fine-tune their communication skills, she said. If cooperation, diversity or other sensitive is­sues are plaguing the group, the co-facilitators can select works from the museum that will create an environment conducive for healthy discussion about the topic.

“The art is beautiful and it’s incredible but there are skills to be refined, discovered [and] honed that apply back to the daily way that group will work with each other,” Soeder said. “It causes people to feel safer because they’re directing their conflict to the art rather than to each other.”

Aside from simply being a means for learning age-old corporate lessons, Art-Work is designed to help employers keep their staffs thinking in creative, innovative ways. By having both an art ex­pert and a corporate guru on-hand, clients are exposed to a dichotomy they might not otherwise have thought to explore, Alvarez said.

“Our driving goal is to engage audiences that think they don’t have time ... for a museum, to realize that, maybe, they do,” she said. “It’s not about coming in with a degree in art history or being able to paint something or other. It goes beyond that.”

Though no Art-Work sessions have been scheduled yet, both the Art Institute and Catalyst Ranch are hopeful based on the history of satisfied clients they’ve each seen in the past. The Art Insti­tute has worked with other businesses, teachers and medical professionals in arts-related pro­grams, and Catalyst Ranch has hosted a slue of creative meetings and events for corporations across the country.

Amy Shannon said she was one of the first to bring her staff to an off-site meeting at Catalyst Ranch when it opened five years ago. Though it may take corporate-types a bit of time to feel comfortable in an arts environment, Shannon believes the Art-Work program has great potential for teambuilding.

“In some ways it puts people on a level playing field because I suspect there’s not too many [people] out there that are in fact themselves experts in the arts,” Shannon said. “It enables people to come at a conversation from a bit of a different slant than what they might normally.”