• Only 8 percent of the work that the Museum of Modern Art exhibits is by women.
• Only about 23 percent of solo gallery shows at top New York sites feature pieces by female artists.
• Women are consistently only 15% of the names on Artforum‘s, Art + Auction‘s, and ArtReview‘s annual “power lists.” source: http://feministing.com/2011/05/18/the-lack-of-progress-for-women-in-the-art-world/

IRREVERSIBLE stories are about woman (sometimes man) to demystify the art world, make introductions and give artists the tools that guarantee a path to success.

Success is available, and can be accomplished by all….

IRREVERSIBLE Frida Kahlo Limited Edition
The Goldminer Project | Sarah Trigg New York

to read the full story please visit  www.irreversiblemagazine.com
or  http://issuu.com/norelkysb/docs/irreversible_frida_kahlo_limited_edition_dec_2011

GOLDMINER began in May of 2009. It was conceived by, and is photographed and written by, Sarah Trigg, who is a painter and photographer based in New York. She is an invited artist of the United States Artists project and was recently awarded an artist residency at LegalArt in Miami where she conducted studio visits for GOLDMINER. She is currently working toward a book of the US artists in the project to be published in the fall of 2012.

Sarah Trigg image courtesy of Natasha Kertes | www.natashakertes.com

During each summer of her childhood, Sarah Trigg would visit her    grandparents in Detroit, Michigan. At their cottage across the Canadian border, she would pore through her Grandfather’s amateur photography that he had bound into dozens of books, and would read the commentary he had written beside the images. Her grandparents shared the place with another family, which she had never met, and on every visit she would find objects they had left behind—a joke book, a record, a vase, a souvenir of someone else’s life. Now a highly regarded painter based in New York, Trigg has taken this annual ritual to a new realm by photographing and writing about the curiosities of visual artists for her archive: The Goldminer Project.

Inspired by Carol Bove and Gordon Terry’s Walk-in vault, a whole new dimension in the project has opened up to accommodate the examples specific to artist’s actual workspaces-peculiarities that if the artist were to leave, would remain. Also included in this category are the unusual living conditions that some artists endure for inexpensive rent, and how they see opportunities (where others may not) to carve out workspaces in unexpected places.

Habitat Matias Duville (ARG)

Unassuming and highly methodical, Trigg has exhibited her paintings widely in New York and across the U.S., including at the Neuberger Museum of Art (Purchase, NY), the Bronx Museum of the Arts (NY) and the Weatherspoon Art Museum (Greensboro, North Carolina). In the spring of 2009, she started writing down ideas—seemingly disconnected at the time— which soon coalesced into a much larger idea: to document the habits, objects of inspiration, and environments of artists from an anthropological    perspective.

Residue | Judy Ledgerwood | CHI

She wondered what future anthropologists would think of artists’ studios if our society were frozen in time by a catastrophic event. As they investigated the remains, they might ask why these dwellings were so aberrant from those nearby. “I wasn’t looking to develop some big project at all,” says Trigg. At the time, however, she felt the idea was so important historically that she felt she had no choice but to pursue it. “There are lots of books about artists’ studios but this didn’t exist.”

Habitat | Nicola Costantino (ARG) | For a past exhibition, Buenos Aires-based artist Nicola Constantino created a fully-functional textile fabrication area as part of a larger installation. Once it returned to the studio, she decided to keep using it for this purpose within her workspace that is mostly dedicated for metal sculpture fabrication.

Documenting the project, meant slowing her painting practice temporarily, but her past experience in art directing, photo editing, and web design allowed for Goldminer to come together in a short amount of time. Trigg has visited over 150 studios in the US, Germany, and Buenos Aires. “A lot of the work by artists in the project is not necessarily easy to understand immediately,” she says. “You have to give it time and open up to it.” To present her documentation, she categorizes each of the artist’s examples into one of the following six categories: mascots; objects that inspire the artists; rituals and belief systems; tools they have    customized; residue from their work processes; and habitat which includes examples specifically tied to their actual workspaces.

Habitat | Jesse Reding Fleming (LA) | It is an agave plant that the City of Los Angeles was throwing out because it was too dangerously close to a pedestrian walkway. He broke through the cement to plant it in his outdoor wood shop.

ABOUT IRREVERSIBLE

“Irreversible – an International art project – is a pioneering exhibition platform for all projects that transcend the classical art show including small format, large scale installations, theatrical events, mixed media, video projections, massive sculptures, music, live performances, unlimited kids programs and THE MAGAZINE.”

“I am constantly on the lookout for what is meaningful of my era. Art is a language possibly more important than words as it directly assails the emotions and feelings. Irreversible – an International art project – is a collective adventure, we want to reach everyone, adults and children and we want to make sure we all remember that most adults have difficulty dreaming… and I have this childish desire to bring our dreams back”

Noor Blazekovic
norelkysb@irreversiblemagazine.com
www.irreversiblemagazine.com

During the past five years my aim, among others, has been to uncover hidden histories. A number of museums, both in the United States and abroad, have been sources for my research and this has afforded me the privilege of meeting and interviewing museum directors, administrators, and staff. My research also includes those museums that are falling short of their mark. One cannot help but wonder if a “leadership crisis movement” is the cause. In the name of good journalism and the quest for truth, we contacted the Miami Museum to ask poignant questions to the new museum director, Thomas Collins, but alas, he did not return our phone call.

The following questions arise:

Why the need of recently firing a loyal 6 years employee?
Is their business model failing? Is their staff burned out? Back on April 2, 2000 the Miami City Commission voted to accomplish the revival of Bicentennial Park. During that time, the Miami Museum of Science and the Miami Art Museum completed a multi-year site and funding analysis for the development of two new world-class institution at BicentennialPark.

The following facts are for the readers consideration:
Scheduled construction on January 2011 |
Completion Spring 2013
Open to the public fall 2013-
Budget construction $131 million
Endowment $69 million
Transition $20 million
Total $220 million
Public funding $100 million
Private funding $120 million².

WHO IS ACCOUNTABLE IN THIS MATTER? Warren Bennis, founding chairperson of the leader institution at the University of Southern California, negates the myth that leaders exists only at the top of the organization and that leaders are born, not made. I feel that nothing could be more further from the truth. Leadership is more about “creating environments that influence staff and others to achieve group goals.” The leadership model at Dale Carnegie Training emphasizes empowerment, rather than making people meet deadlines and objectives. We must focus on developing skills based on relationships, self-directed individuals and work groups that lead to continued growth and improvement. The apparent egotistical, conflictive nature of some of the local museums in Miami has motivated me (and hopefully my readers) to visit more museums. I strongly suggest that you give yourself a holiday and New Year’s gift to visit four museums that I consider to be inspiring models that understand and live up to their mission. They are the Museum of Art Fort Lauderdale (MOA), the Museum of Contemporary Art North Miami (MOCA), The Patricia and Phillip Frost Art Museum at Florida International University, and the Wolfsonian Florida International University Museum. These museums value their audience, their staff and the benefits of teamwork across departments. Their leadership and exhibition teams provide educational and programmatic excellence.

In an attempt to turn my disillusionment of my experience with the Miami Art Museum to something postive IRREVERSIBLE continuously celebrates powerful examples of empowerment. None of us can see what directions the world will take in the future, and events that seem monumental today might turn out to be mere pebbles on the road of history. But there are some achievements so notable, so ground breaking, that even within the short space of a decade we can feel their impact. The New World Symphony America’s Orchestral Academy could not be a better example.

IRREVERSIBLE Limited Edition BEST OF 2011 New world Symphony Academy

Frank Gehry said

“I am very proud of this building, which results from a close working relationship with my lifelong friend Michael Tilson Thomas and brings to life his dream for New World Symphony and the entire world of classical music. I hope the spirit of creative engagement that Michael and I have enjoyed will live on in the building’s spaces. They are designed to encourage young musicians, their mentors and their audiences to try new things, interact in new ways and remain open to new experiences.”

See you at the Fairs!
Noor Blazekovic.

I do not feel inhibited or bound by what I am.
That does not mean that I have never had bad scenes relating to being an immigrant and /or a woman,
it means that other people’s craziness has not managed to make me crazy.
I write from my knowledge not my lack thereof, from my strength not my weakness.
I am not interested if anyone knows whether or not I am familiar with big words,
I am interested in trying to render big ideas in a simple way.
I am interested in being understood not admired!

Lucille Clifton (American poet, 1936- )

1.Urban Design Museum Park (Bicentennial Park) Master Plan. City of Miami planning department | http://ci.miami.fl.us/planning/pages/master_plans/Bicentennial.asp
2.www.miamiartmuseum.org/library /New_MAM_Fact_Sheet.pdf

IRREVERSIBLE LIMITED EDITION BEST OF

Aida Tejada | Aquella-Mujer From-the-Series "Waiting for..."

IRREVERSIBLE LIMITED EDITION DEC 2011
AIDA TEJADA PHOTOGRAPHY
Visible Magic BY Lynne Bentley-Kemp

to read the full version story please click
irreversible_frida_kahlo_limited_edition_dec_2011

In today’s world of instant gratification and software that creates images that seem much more complex than they really are, Aida Tejada comes up with a retort to the software virtuosos. Her vision articulates the effects of light and how it is captured in ways that render her subjects through time and space, not Photoshop. Her camera is a means of transport from the everyday to the interior of the soul. She uses the shutter like a paintbrush and color and light emerge as the objects of her camera is a means of transport from the everyday to the interior of the soul. She uses the shutter like a paintbrush and color and light emerge as the objects of her gaze.

IRREVERSIBLE LIMITED EDITION Aida Tejada "La-ventana-Roja" From-the-Series-'Around-Me'

The fact that Tejada has earned degrees in psychology and communication, and not photography, adds intrigue to the substance of her visual vocabulary.  She routinely signs up for workshops to add to her already intuitive knowledge of photography.  Tejada’s passion is for learning how to expand her visual vocabulary, a mission that will never end.

Lynne Bentley-Kemp, PhD Instructor, Dept of Art and Art History
Florida Atlantic University

A resident of Cudjoe Key, Florida and a Photography Instructor with the Department of Visual Art and Art History at Florida Atlantic University, Lynne Bentley-Kemp has had a longstanding relationship with photography and its impact upon visual literacy. Much of her involvement with the visual world has been grounded in the social and historical influences of photography. Interested in studying the impact photography has had on culture, Lynne entered the Ph.D. program in Comparative Studies at Florida Atlantic University in 1999 as a member of its inaugural class.

This SPECIAL LIMITED EDITION is the first IRREVERSIBLE tribute to our mothers, grandmothers and sisters– the women who have come and gone throughout the centuries and the women who are here today taking their place; women like you and me. This is a tribute to all these women who have come and gone, and those who are here today doing the work.

In this issue among others:

Bernice Steinbaum – Hung Liu- Rosa de La Cruz – Lorna Marsh
Janet Batet – Julia Morton – Lynne Bentley-Kemp – Kristen Schiele – Kathryn Mikesell – Merc – Carla Rey – Florencia Daiban
Paula Urbano – Juliana Estevez – Soledad Álvarez Campos

Mari Carmen Ramírez, the Houston Fine Arts museum’s curator of Latin American art, of whose vision in the field of Latin American art it has been written;

“It aggressively attacked many stereotypes of Latin American art. It was eye-opening for those who don’t know and affirming for those of us who always believed these artists should get a voice.” Olga Viso, an American of Cuban descent and director of the Walker Art Center in Minneapolis (Movers & Shakers by ARTHUR LUBOW The New York Times- Published: March 23, 2008)

In the curator’s own words for IRREVERSIBLE
“The field has expanded considerably to include both artists who had been marginalized or under-recognized for decades and/or emergent artists. We now have a far more dynamic and competitive situation with museums, dealers, collectors, and auction houses vying for the work of artists from Latin America.”
Although these women come from all races, religions, sects and cultures, I am able to relate to them as our own mothers, sisters, aunts, and grandmothers. This strong kinship always existed among women but I think very few of us are aware of it. So let us come together, pay tribute and celebrate the lives of these women through celebrating our own precious lives. Let us celebrate our own talents and unique qualities and give us the acknowledgment and the recognition due for our efforts and hard work– however big or small. Let us recognize and honor the mother, the sister, the aunt and the grandmother within ourselves and within each other. Let us remember that like a burning candle that illuminated the dark, we too need to honor and cherish the light within each other and ourselves for giving light to the world around us.

I do not feel inhibited or bound by what I am.
That does not mean that I have never had bad scenes relating to being an immigrant and/or a woman, it means that other people’s craziness has not managed to make me crazy.

I write from my knowledge not my lack,
from my strength not my weakness.

I am not interested if anyone knows whether or not I am familiar with big words,
I am interested in trying to render big ideas in a simple way.
I am interested in being understood not admired!
Lucille Clifton (American poet, 1936- )

Publisher/Editor
Norelkys Blazekovic
norelkysb@irreversiblemagazine.com

We here at IRREVERSIBLE take incredible pride in cultivating a more meaningful and significant image of South Florida and its cultural scene. It is our mission to expose, unite and celebrate both past and present innovators. With our upcoming Limited Edition issue in particular, we are challenging ourselves to help unite South Florida’s cultural community so that it may continue to grow; building a strong foundation of galleries, museums and cultural centers with the aid of local supporters. Only then can we truly sustain a positive and solid reputation to the outside world.

Here is a preview of what will be complete coverage of what I personally consider THE VERY BEST of So Flo!   Including: MOA Museum of Art Ft. Lauderdale (moaflnsu.org).
In complete contradiction to the generally cold museum entrances I have encountered in the past, walking into the Museum of Art Fort Lauderdale was anything but. I found myself in the midst of a warm & sincere environment; the lobby full of people at 11 am, a wonderfully curated Book store (Books & Books ) &  coffee stand and a  line of people purchasing tickets for their current exhibition, Vatican Splendors: A Journey through Faith and Art (presented by Holy Cross Hospital, in association with PNC Bank and AutoNation) ….. A-MA-ZING  … Now we were ready to find an IRREVERSIBLE story!

IRREVERSIBLE interview: It feels like you have this fabulous open-door policy at the Museum, you want performers, a book store, families…

Irvin Lippman: “I’d like to think that we are very welcoming inside as well as outside now. Inside the museum we have an extraordinary staff with artistic sensibilities. That definitely helps when you are putting together events and exhibitions.”

In service to the public, the mission of the Museum of Art/Fort Lauderdale actively engage diverse audiences in the appreciation of works of art through innovative exhibitions, education programs, publications, and collection activities. International in scope, while reflecting the creative expression of our region, the Museum explores the broadest spectrum of visual culture at the highest level of quality.

Edouard Duval-Carrie “The Indigo Room or Is Memory Water Soluble”

The creation of an artist-in-residence program is the most impressive innovation during Lippman’s leadership. In 2004, artist  Edouard Duval-Carrié,  became the first artist in residence with his installation “The Indigo Room or Is Memory Water Soluble”, commemorating in various ways, the bicentennial of Haitian independence. The Indigo Room is a room-sized work in the elevator foyer adjacent to the museum’s main lobby. The space features a conglomeration of light boxes — three long, vertical rectangles, surrounded by nearly a hundred small squares. The boxes contain an assortment of items such as photographs and plastic miniatures of animals, plants, and other objects. The piece also spills onto the ceiling, where there are nine more illuminated panels, and into a small alcove to the right of the entrance, where disembodied hands reach out from the walls surrounding a radiant bust of a creature that resembles the mythical gorgon, Medusa.

• Lectures, Gallery Talks, and Brown bag lunches on the subject of our current exhibitions and collections
• Art Information through our Web Site, Podcasts, Audio guides, and Newsletter
• Teacher Resources and Curriculum Guides are developed with the Nova Southeastern University’s (NSU) Fischler School of Education and Human Services on our collections for the student and teacher
• Art Exploration Tours in the galleries for schools and community groups led by Museum docents
• Outreach Programs to community groups with slide presentations on the collections, exhibitions, and art history
• Studio School offers a full curriculum-based course selection including Art History, Figure Drawing, Oil Painting, Watercolor, and Mixed Media taught by fine art faculty (see Studio School for details)

IRREVERSIBLE Spring 2011 will be exclusively distributed in the following prestigious art fairs:

• arteBA Contemporary Art Fair, Argentina: May 19^th – 23^rd
• Zona Maco, Mexico: April 6^th – 10^th
• LISTE 16: The young art fait at Basel, Switzerland: June 14^th - 16^th
• ArtMonaco2011, Monaco: March 31^st – April 3^rd

Liam Crotty – Photographer
www.liamcrotty.com

Liam P. B. Crotty (born on Leap Year’s Day, February 29, in Superior, Wisconsin) is an accomplished American portrait photographer who is known for his ability to instantly connect with his subjects.

A Creative Childhood

Crotty, who first moved to Maine in 1971, was one of three children whose parents were both professors. He was influenced by his mother who encouraged his photographic ability and by his father, a gifted creative writer and storyteller. At age nine, he purchased his first camera, a 110-format, plastic point-and-shoot from his local Five & Dime store and has never stopped taking pictures.

His life-long passion for photography progressed as the Photoeditor of his High School yearbook and at age 18 his photography and leadership were featured on NBC’s WCHS Channel 6, America’s Future Award.

IRREVERSIBLE coveraged was possible thanks to the support of :
Photoeditor Liam Crotty, Jesus Rojas What’s Up Miami blog,
Cristina Ojeda IRREVERSIBLE Communications Director & Alfonso Vasquez Video Art Director

Special Thanks to Irvin Lippman and the wonderful  Staff @ MOA whom without their generous support this coverage would not be possible!

Irreversible – an International art project- presentation and discussion with world-renowned art critic, scholar and Pulitzer Prize-nominated poet Ricardo Pau-Llosa: Art and Prejudice: What Is The Real Truth? A discussion on contemporary art by: Pablo Cano, Alejandro Mendoza, Catherine Tafur & Tomas Esson.

Friday, February 11, from 8:00 pm
BOOKS & BOOKS CORAL GABLES, 265 Aragon Avenue Coral Gables
The panel reception is free and open to the public.

IRREVERSIBLE:  An International Art Project will present a panel discussion moderated by world-renowned art critic, scholar and Pulitzer Prize-nominated poet Ricardo Pau-Llosa.

Pau- Llosa’s poetry and scholarly writings have appeared in a some of America’s most prestigious journals, including The American Poetry Review, the Kenyon Review, Sculpture and Arte al Dia. Born in Havana, Cuba Pau-Llosa’s work is informed by his personal story of immigration to the United States in 1960 at the age of 6 and his upbringing in the cultural melting pot of Miami in the city’s most turbulent decades.  Pau-Llosa’s Pulitzer Prize-nominated third book was the first major English-language published collection of poetry, which dealt with the history, art and literature of Cuba viewed through the eyes of a Cuban-American scholar.

Click to view slideshow.
ALEJANDRO MENDOZA

BIOGRAPHY

Born on 1967, Havana, Cuba, Alejando Mendoza’s work was included at an early age in the permanent collection of Museo Nacional de Bellas Arte and Centro Wifredo Lam (today’s Havana Biennial organizers).

Leaves Cuba on 1992 to Mexico after completing high levels of academia where he would spend the next 15 years producing an important body of work leading him to show and to be included at prestigious institutions like at the acclaimed Museo del Chopo, U.N.A.M, and Museo de Arte Carrillo Gil.

Later he moved Buenos Aires, Argentina for two years where his career matures. Then he relocates between Miami and Philadelphia.

Since then, his work has been included in prestigious The Farber Collection and at The Noyes Museum in New Jersey. He now works and resides since 2005 in Miami, Where he achieves honors and grants like The John & James L. Knight Foundation Awarded at Knight Foundation Arts Partnership Grant, 2008. He has become a very important contributor to the Miami community as an Art in Public Spaces supporter by bringing to the “Magic City” the overwhelming explosive monumental sculptures known as The Giants in the City.

His work evolves into environments that are constant on his aesthetic proposal. Some of the artist’s most important and strong elements are: Man and his associations with life and society and the Modern Condition leading to the simplification of common sense to become understood.

As the artist would say: Creating is the most “Bestial” process of my conclusions.

Creating is the experience of being constantly unsatisfied. When this happens, I should re-do and lie to my self again.

Art World Prejudice: Sex, Race, Age…

Art World Prejudice: Sex, Race, Age…

In the recent past it was not uncommon to see only two solo shows by artists who happened to be female for every dozen solo shows to open in New York. Women exploring painting as the focus of their artwork stood even less of a chance of receiving a solo show compared to men. I doubt the situation has changed that much over the years. It troubles me that in the mainstream art world– often noted for being liberal in thought– such clear prejudice based on gender continues to dominate. This veiled prejudice fosters the idea that art is a man’s game– and shoves that mode of thought into the psyche of the viewing public.

This form of prejudice based on gender within the art world can be observed in mainstream gallery artist rosters, magazine and blog lists of the art worlds “most powerful”, and in the media as a whole. It leaves one asking why in 2010 artists who happen to be female often are stamped as ‘female artist’, ’female painter’, and other gender-specific descriptions that are never used when describing male artists. It is almost as if the people who describe artists who happen to be female in this way are giving them a pat on the back for their attempts. It is insulting.

Prejudice within the art world does not stop there. Race also becomes an issue. For example, you never read an article about an artist starting with so-and-so is a “Caucasian artist from…” to describe an artist who happens to be white. That said, if an artist is from any other racial background you can almost be assured that race will become a descriptor for that artists efforts– “African American artist from…”, “Hispanic artist from…”.. the list goes on. While it is true that race can define an artists visual message– if that is his or her direction– I don’t think it is a sound choice to use race to define an artist in general.

The issue of age is apt to pop up in the fray of art world prejudice. Age is arguably the most offensive way to define– or should I say label?– an artist. I say that because the age factor often meshes with the two forms of prejudice I mentioned above. For example, most art critics, gallerists, and artists will tell you– if they are honest– that most 30-something exhibiting artists who happen to be female are near career- end. That decision is not by choice– it is fueled by age and gender alone in association with the prejudice of art dealers representing them.

After all, there is a double standard within the context of the art world– artists who happen to be male in the same stage of life are often viewed as coming into their own. Sadly, I don’t think the majority of art dealers, curators, and art critics realize that they are creating– or helping to maintain– a cloud of prejudice over the art world. It is almost as if it has become the status quo.

If you are not an artist who happens to be white, male, and our past the age of 35 it is likely that your career is playing a game of Russian roulette with three bullets that are locked and loaded. I say that because the descriptors involved with those three factors often are reduced to art market trends and fads– labels that artists don’t necessarily want for themselves but get stamped with anyway. This prejudice is an ugly stain in what is otherwise one of the most liberal thinking aspects of our culture.

I for one feel that it is time for art critics and the media in general to drop descriptions based on gender, race, and age when describing an artist unless that information is vital to the artists work. Gender, race, and age should not come before what an individual does when writing about said individual. Yet it happens all the time– and most of the major art publications have long been guilty of this. Who knows how many artists could have continued to shine had it not been for these three factors. These descriptors breed prejudice no matter how you try to warrant it. It is time to look at the artwork and what artists have to offer instead of being so focused on their gender, race, and age.

Take care, Stay true,

Brian Sherwin
briansherwin-artcritic.blogspot.com

The printing press: was the first one of many communication mediums, changing how information was collected, stored, retrieved, criticized, discovered, and promoted. The Automobile: Henry ford said “You can have any color as long as it is black,” They permitted rapid transportation of people. The Television: John Logie Baird filed his first patent in 1923, for a device that yielded an eight-line image. The Laser: Forty years after Einstein drew up the concept of the stimulation of light waves, a doctoral student earned a patent on Light Amplification by Stimulated Emission of Radiation (LASER) and the resulting beam to cut, heat and measure. Doctors adored lasers because they simplify and quicken cosmetic and eye surgery. Scientists love lasers for their precision and power and of course The Internet California, darling: A secret Pentagon project, the Internet served as a communication network that would remain intact, even if several of its strands were broken.

Inventions are IRREVERSIBLE’S incredible source of inspiration. You simply have to be willing to be all you can be, contributing all that is yours to create and be willing to think outside the box.- Baldessari has mentored countless artist and he tells students-, “Art comes out of failure” “You have to try things out. You can’t sit around, terrified of being incorrect”My awareness of what I have been afforded in life feeds my desire to challenge new channels for our book. My grandmother was my greatest mentor, I can only think of her as the incredible strong woman who never complained – she never had a car, no running water at home, etc – however the impact that her education and her strength brought to my life makes what IRREVERSIBLE is today a strong universal vision, a documentary about our generation, a special project that welcomes constantly changes.

I have great respect for people who create the things that keep changing/shaping the world. It is said that necessity is the mother of invention- it is also the mother of all forms of creativity.  While developing Henry Bermudez story on his personal quest gave me the opportunity to feel pride; -we both are originally from Venezuela and from the same hometown Maracaibo- the incredible stories about the Amazon and the influence of mythology on his works immediately make me feel something special, I responded to his works with fervor without having any knowledge or previous connection to it. -I must share I avoid reading critics-  I do not want to get influence by what others think. I am convinced that a great work speaks for itself and we may connect to them or not at all.  our greatest pride is having the privilege to be able to share the world artist intimacies-.  Alexandre’s letter is a work of art itself, sincerity, kindness, honor I know this story will become an incredible long lasting documentary on Black Sun (Alex we must say the translation gave us a tremendous challenge, trying to be as loyal to the original as possible, so people could understand it is a REAL letter). And I hope it becomes power for many – not because of his ordeal in launching the work- but because it inspires us to never to give up.

IRREVERSIBLE ART SPACE BOOTH 516 MIA Art Fair Miami Beach Convention Center from Jan 13th

Lorna Marsh was born in Cape Town, South Africa in 1949. Although Marsh’s artistic vision may be grounded in her classical training she has developed a distinctive style that transcends standard interpretative mechanisms. She is a figurative expressionist who blends symbolism, surrealism, and expressionism that reflect a universal dialogue that addresses man’s destructive relationship to himself and his environment. Marsh has had important solo shows at the Florida Museum of Hispanic and Latin American Art, Miami, Florida, the Jacabo Borges Museum, Caracas, Venezuela, and the João Ferreira Gallery, Cape Town, South Africa, among others.
www.lornamarsh.com

Artist Maki Hashizume, Japan, uses three concepts to reach the viewers:

1-the relationship between art and viewers,
2-seeing and feeling, &
3-Japanese taboos．

the artist has been trying to break the boundary between art and our society by blending art into our life invisibly.Having an artistic mind is the real meaning to art and the mind is the best art work in the world. The mind is stronger than any other figurative works such as paintings, sculptures, videos and so on. Everybody has received artistic sense as a gift from God when born. Due to that, we unconsciously sense colors and figures. Based on that anyone can clearly understand; these concepts.

Japanese culture and the taboo of emotion:
The Japanese hesitate to show their emotion fully to others, came from Bushido which is the spirits of the samurai. Most Japanese have lost their Bushido spirit.
Bushido dictates not showing emotion under any circumstances. The current problems now facing Japan are due to its cultural deformation.

This cultural deformation was caused by losing the spirit, the core of a human being, through modernization of life styles. The Japanese have quickly developed their culture after World War2, but modernizing life has actually removed their culture. Scenery in Japan has become that of a concrete jungle, and our modern life only created vanity. After so many people lost the sprit of Bushido, we created chaos instead.

In the end, artist Maki Hashizume would like to replace that which has lost by producing public work.

www.makihashizume.com

Factory IV Opening Reception Jan 8th at 7PM 297 NW- 23rd Street Miami Florida … Read More

via The Cuban Art Project

IRREVERSIBLE Art Space  Booth # 516
We are proud to invite all our members and followers to be part of our upcoming event: MIA ART FAIR from Jan 13th @ MIAMI BEACH CONVENTION CENTER Booth # 516
please RSVP to norelkysb@irreversiblemagazine.com for complementary passes!

Artists: Lorna Marsh (South Africa), Alejandro Mendoza (Cuba), Maki Hashizume (Japan), Sergio Garcia (Cuba)

IRREVERSIBLE “Out of the Box” Limited Editon series 1/1
Participant artist: Pablo Cano, Alejandro Mendoza, Tomas Esson, Yovani Bauta, Catherine Tafur, Sergio Garcia, Miguel Fleitas
Photos courtesy: Elsa Roberto

Irreversible is an International art project founded in 2004 by Norelkys (Noor) Blazekovic, to portray how in recent decades artists have progressively expanded the boundaries of art, as they have sought to engage in an increasingly pluralistic environment. The creating and understanding of art, are likewise no longer grounded in traditional aesthetics. Irreversible is proud to participate in exploring the freedom of developing new models and instruments from everyday life, as Irreversible evolves in its efforts to become a creative medium for the better understanding of the complexities of our contemporary existence.

I take great pride in sharing our success with you!

“Just use your imagination and tremendous things will happen. Imagine you have the ability to see the world with different eyes, whenever you choose. Each time you open your eyes. You see the world around you in a different way, an Irreversible way.”
Noor Blazekovic