BIOGRAPHY

1954

Born in Krefeld, Germany

Currently lives and works in Bizkaia, Spain

1978

Hochschule für Bildende Kunst, Hamburg, BA

SOLO EXHIBITIONS

2005

Spiegelbilder 1982-1985 Max Hetzler, Berlin

2004

Musée Cantonal des Beaux-Arts, Lausanne

The Good Life Nolan / Eckman Gallery, New York

2003

Alfonso Artiaco, Naples

2002

Galerie Nathalie Obadia, Paris

Galerie Max Hetzler, Berlin

Galerie Catherine Bastide, Brussels

2001

Self Portraits Skarstedt Fine Art, New York

Checkers Galerie Baerbel Graesslin, Frankfurt

2000

Galerie Max Hetzler, Berlin

Patrick Painter Inc, Santa Monica

1999

Lord, Pferdeflusterer, Antichrist Galeria Juana de Aizpuru, Madrid

1998

Galerie Mikael Anderson, Copenhagen

Margo Leavin Gallery, Los Angeles

1997

Stedelijk Museum, Amsterdam

Baladas Heavy Galerie Gisela Capitain, Cologne

1996

Obras Recientes Galeria Juana de Aizpuru, Madrid

SELECTED GROUP EXHIBITIONS

2005

Groundswell MOMA, New York

2004

Pixels Stellan Holm Gallery, New York

Hot Ice: Recent Painting from the Scharpff Collection Kunstalle, Hamburg

2003

Biennale d’Art Contemporain de Lyon Lyon

Painting Pictures: Painting and Media in the Digital Age Kunstmuseum Wolfsburg, Germany

2000

Painting on the Move Kunstmuseum, Basel

Glee: Painting Now Palm Beach Institute of Contemporary Art, Lake Worth, Florida

1999

Decades in Dialogue Museum of Contemporary Art, Chicago

Digital Sites Numark Gallery, Washington

Sammlung Essl: The First View Klosterneuburg, Vienna

1998

Recollection Kunstverein, Graz

Georg Herold / Albert Oehlen Galerie Max Hetzler, Berlin

Selbstportraits Galerie Barbel Grasslin, Frankfurt

Fast Forward Archives Kunstverein, Hamburg

1997

Display Charlottenborg Exhibition Hall, Copenhagen

1996

On Paper II Schmidt Contemporary Art, St Louis

Peinture-Peinture Galerie Samia Saouma, Paris

Provins – Legende Museet for Samtidskunst, Roskilde

Article Theme :-

Albert Oehlen combines aspects of figurative sexuality, mechanical distance and painterly abstraction. It’s a bastard hybrid of painting, incorporating smooth polished forms, heavy brushwork, and the implied photo-gloss of airbrush. The end result is more like a collage than a painting: a loud and exasperating argument in different tongues, promising never to be resolved for lack of a common idiom.Albert Oehlen is a master of ironic wit and his paintings are elaborate strategies of provocation. In Untitled, Albert Oehlen subverts the authority of the avant-garde, creating an abstraction of dumbed-down abjection. His painting poses as a deceptive icon of aesthetic contemplation, punctuated with flirtatious eyes returning the viewer’s gaze.

Read Entire Article about Artist Albert Oehlen paintings and artwork at The Saatchi-Gallery http://www.saatchi-gallery.co.uk/artists/albert_oehlen.htm

But of course, the attraction of a Sedona area tattoo parlor will remain hidden to those who don’t have a tattoo and those unfortunate individuals that remain unaware of what it means to visit a Sedona area tattoo parlor. Think of it in terms of Renaissance art: while, even today, the styles and techniques of the masters are copied to produce images worth thousands, the true Renaissance pieces come from a certain place and a distinct moment in history. Today’s Sedona area tattoo parlors are the modern equivalents of historical Renaissance art studios.

Sedona area tattoo parlors are a manifestation of tradition and the original idea behind tattoos. It’s a professional artistic endeavour where you get to exhibit your inner animal or abstract self. And if you ever wondered what it takes to get a tattoo, here are a couple of answers to the more frequently asked questions:

Is it legal? Of course it’s legal. However, certain states require you to be a minimum age of 18 before you get your first tattoo. Certain Sedona area tattoo parlors may require photo identification before commencing with the procedure.

Does it hurt? There is a measure of physical discomfort. But that’s part of the glory of being tattooed, a part of the physical memory and a process which makes it part of you. Certain areas of the body may hurt more than others, but the general consensus is that it is a bearable pain. Sedona area tattoo parlor artists are greatly talented and experienced, taking care of their clients and ensuring that the memory is a pleasant one.

Will they fade? Tattoos can remain stable for decades but, as the body changes with age, the pigment or colour of the tattoo may sink deeper into the skin. Exposure to sunlight speeds this process up, so it’s best to use a good sun block. Sedona area tattoo parlor artists will advise you on how to keep your tattoo detailed and lasting.

How does it work? There are many different ways of tattooing which involves anything from cutting the skin and rubbing it with ink or ashes to piercing the skin shoots of bamboo or pieces of bone. But luckily, with modern technology it has become a mechanical process by which a little device called a tattoo ‘gun’ is used to pierce the skin and inject it with ink. A healing process will follow where the damaged layer of skin will be removed by the body, leaving you with a detailed artwork on your skin.

Sedona area tattoo parlors have long been in the business of bodily works of art. Perhaps you’ve heard someone mention the various Sedona area tattoo parlors they’ve been to; if you haven’t you will.

I will show you how to start a professional 3D graphic design studio using only free software. To produce credible 3D graphics, the tools must be able to perform the various functions namely:

1. Modelling

2. Rendering

3. Animation

4. Image editing

5. Texture creation

Well, we need to substitute commercial tools with their free and or open source equivalents.

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The following is a reference to the various free 3D and graphics related resources that can be downloaded from the net.

For 3D modelling, rendering and animation there are at least 2 excellent free alternatives. They are Blender 3D and Truespace 3.2. You can get Blender 3D from www.blender3d.com. Truespace 3.2 can be downloaded from www.caligari.com which is the homepage of Truespace’s maker.

For purely dedicated 3D modeling, Wing3D is an easy to use yet very powerful tool. You can get this 3D modeling software from www.wings3d.com. What you need to do, is to model your stuffs on this software and then export then to either Blender3D or Truespace. File formats such as 3D Studio (3DS) , Wavefront (OBJ) and VRML (WRL) are all supported by Wings3D and can be used for exporting 3D models (created in Wings3D) to other 3D programs such as Blender3D and Truespace.

For image editing and texture creation, Gimp is a most excellent tool. This is a very powerful image editing tool. It supports layers like most professional image editors. Its many filters are excellent for creating textures and image maps for 3D models. Gimp can be downloaded from www.gimp.org.

Less well-known than Gimp but very delightful to use is Pixia. This is a Japanese software. Fortunately there is an English version. This tool is excellent for painting and is thus useful for creating image maps for 3D models. Pixia can be downloaded from http://park18.wakwak.com/~pixia/.

Well, these are the free equivalents that can perform the work of commercial tools. Commercial software may be more convenient and easier to use, nevertheless these free tools can get the job done too. So, if you are on a tight budget, this may be the route to go.

So how can you find out about these dance studios that not many people have heard about? Well for the most part you find out about them by getting involved in the dance industry and making friends with other dancers. Many times you’ll find out about them by going to the popular dance studios and meeting other dancers there who also go to these underground dance studios.

A lot of these underground dance studios will specialise in only a handful of dance studios which is not surprising since they are not mainstream. Since forever bboys and bgirls have had meetups where they just find an area where they can practise.

There are lots of these underground dance studios that specialise in hip hop or locking and popping. Especially in the inner cities, where people are just doing their own thing.

Usually the more you get involved in a particular community the more you’ll find about these places that dancers go to practise. Many times they’ll have teachers there who are teaching dance classes. Sometimes you can find out about them just by participating in online forums or hanging out with people who are heavily involved in the scene.

A lot of the time these underground places will be cheaper than the mainstream studios and you can get into some good dance classes for a lot cheaper.

You’ll frequently find that these underground dance studios are the places that many dance companies or dance troupes might go for their dance rehearsals and the studios are not as expensive to hire. If you know anyone in a dance crew it’s also worth asking where they practise as it may an underground place that a lot of people go to.

Also don’t feel that it’s the end of the world if you can’t find an underground dance studio. There are plenty of dance studios and opportunities where you can learn many dance styles.

Underground dance studios are not necessarily any better, sometimes they are better, sometimes their standard is worse or just less polished. It’s usually a different crowd and different scene from the other dance studios, if it’s your scene most likely you will find out about it in time.

As a result, the details of the intensely made collages were removed from close scrutiny and what was left were the after-effects of the image. The graphic qualities of the collages functioned in a remote, imaginary way. There was no narrative immediacy, instead a slow disclosure, emptying out into strange, imaginative worlds. For his new exhibition, The Glass Family, Johnson has removed the laminate surface from his work. What are shown are the intricately, detailed constructions of collages using a technique interlocking fragments of individually hand-colored paper.

His subjects, four portraits – two boys and two girls – and a stairwell, are recovered from old newspapers and magazines; a particular source of Johnson’s imagery is old skateboard and speedway magazines. Found in the work, also, are number of recurring motifs: esoteric badges, logos, marks of symbolism and orb-like discs. These crop up as pictorial, structural devices within the logic of the depiction and also as signifiers of other-worldly attributes and belief systems. He uses them, also, to create an idea of family resemblances and reinforces the notion of the family hewn from the show title. Whilst, they should be read as mental manifestations of the characters personalities, these motifs have an ability to introduce a spatial dimension to what are sometimes flat grounds of background color.

Johnson’s work is framed by an interest in outsider and visionary art. His exhibition follows on from a group of three shows he curated featuring outsider artists: Future Primitive, Prophet Royal Robertson and World B.

A two-sided work in the show mounted on a plinth, whilst allowing him to introduce a new device to explore facets of his own work through close ups and details, is also a reference to the tendency for outsider artists to use both sides of the paper.

SOLO EXHIBITIONS

2005

• The Glass Family, One in the Other, London

2003

• Studio d’Arte Cannaviello, Milan

• Second seed, One in the Other, London

1998

• A Short Show About Something,

• Red Mill Gallery, Vermount Studio centre, Johnson, Vermont

1997

• Grey Days & Dizzy Days, Gallery No.5 Temporary Gallery, Merchant City, Glasgow

GROUP EXHIBITIONS

2006

• Black Moon Island, One in the Other, London

2005

• Introspective Men, Madder 139, London

• The Future Lasts a Long Time, Le Consortium, Dijon

• Future Primitive, One in the Other, London (curated by Paul Johnson)

• Faux Realism Part 2, Rockwell, London

2004

• The Future Lasts A Long Time, Tal Esther, Tel Aviv

• World B, Flaca Gallery, London

2003

• Arrivals, Pumphouse Gallery, London

• Friction, London Print Studio, London

2002

• Die first, One in the Other, London

2000

• Snapshot, Contemporary Museum, Baltimore

Conclusions:

Paul Johnson’s exhibition at the gallery in 2003 one had to peer through the diaphanous surfaces of his collages to collect the fragments of an unsettling tableau. Placed over the work was a translucent laminate surface that stood between the picture plane and the viewer and which sealed inside the illusionism of the picture.

What to Do Next…

If you want any information about Paul Johnson or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/paul_johnson.htm

The concept of sculpture has changed so much in recent decades that most of what is currently classified as sculpture bears little resemblance to the millennia-old tradition of carved or cast figures. Practically any three-dimensional object serving a decorative, esthetic or conceptual purpose is now viewed as sculpture. The shift occurred in the 1960s, when Donald Judd argued that his planar wooden forms were not sculptures since they were neither “sculpted” nor statues. Sculpture, he proclaimed in 1965, “is finished.” In the late ’60s, Earth artist Michael Heizer declared that “the idea of sculpture has been destroyed, subverted, put down.” But sculpture, like painting, refused to die; instead, it was redefined to include the works of the very artists who rejected it.Two major exhibitions of Jessica Stockholder’s work have recently provided the opportunity to consider these issues. A new installation, Sam Ran Over Sand or Sand Ran Over Sam, was created for the Rice University Art Gallery in Houston, while “Jessica Stockholder, Kissing the Wall: Works, 1988-2003″ surveys Stockholder’s portable sculptures, which she calls “studio works.” The latter show debuted at the Blaffer Gallery, Art Museum of the University of Houston, and opens this month at the Weatherspoon Art Museum, Greensboro, N.C. Together, the two shows offered in-depth access to this prolific midcareer artist’s production, which reveals surprisingly little change over the course of 16 years. Throughout, she has maintained a consistent level of energy and formal complexity.

The genesis of the current popularity of Vietnamese art can be traced back to the beginning of the last decade of the last century. It is during this time that Vietnamese art in general and contemporary Vietnamese art in particular have started to emerge from a state of virtually no recognition and anonymity to have its say on the world’s art scene. For long, scholars and researchers from the Occident were prone to dismiss Vietnamese culture as a wan replica of Chinese or a mishmash of French-Chinese-Indian cultures. That Vietnam owes much to those great civilizations is undeniable, but it in no way means that Vietnamese culture is a mere product of mimicry. It is safe to say that what has enabled Vietnam to survive as a nation through an aggregate thousand-odd years of foreign domination is that she has known how to digest foreign influences and incorporate their quintessence into her own culture.

It is not surprising then that Vietnamese modern art today exhibits a happy knack of mixing Western techniques with a rich traditional sensibility. Thematically, Vietnamese modern art has stayed close to the nation’s tradition and cultural heritage, drawing inspiration from local festivals, age-old traditions, peasant life and other local variety. In these days, when people are speaking of an identity crisis in Asian art, Vietnamese art has become a center of attraction. Indeed, Vietnamese art works in the last decade have been increasingly sought after by foreign collectors and art lovers. Exhibitions of contemporary Vietnamese art are being organized in Hong Kong, Singapore, Japan, Australia, France, Germany, Great Britain, Belgium, Switzerland, Sweden, Norway, Denmark, Holland, USA, Argentina and more.

A Vietnamese art gallery is probably the best place to get acquainted with this new école. In most parts of the art world, the life of an artist tends to revolve around art galleries. Vietnamese art galleries are no exception. Recognition comes easy for an artist if he or she succeeds in displaying a work in a reputed gallery. This simple philosophy has led to the fervent populating of many Vietnamese art galleries with the best samples from one’s repertoire.

The owner of a reputed Vietnamese art gallery often plays a significant role in launching and promoting artists. He may weave engrossing, mostly fictional but sometimes true stories around them. Seasoned art lovers, however, will usually look past the hype, negotiate hard and sometimes get very good prices by going directly to the artists.

One can easily conclude that art is big business in Vietnam. Fine Arts have found an all new commercial lease of life. Vietnamese art gallery owners today talk of selling individual works for tens of thousands of dollars, and some are financing frequent trips to the United States, Europe, and Asian cities such as Hong Kong, Singapore and Tokyo. Paintings that sold for less than $50 even ten years ago, are now fetching more than $50,000.

Aroma DD Art Gallery, Suffusive Art Gallery, Apricot Gallery, Doai Gallery, Dong Phong Gallery, Green Palm Gallery, Hanoi Studio, Mai Gallery – there’s no dearth of galleries in Vietnam today. If you want to have a first hand experience of Vietnamese modern art, there is just one place to head for – Vietnamese art galleries.

Zhang Dali went on to make portraits of migrant workers’ faces and resin casts of their heads or entire bodies. Having a studio on the outskirts of Beijing, Zhang Dali became acquainted with a community of migrant workers who lives nearby. Migrant workers have emerged as a product of the urbanization and growth of the main Chinese cities. Mobility has come with reform and this is not always an easy choice. The cities have developed into places of wealth and opportunity, thus drawing all sorts of people in search of better lives. However with this growth of the cities and the introduction of so much from the West: architecture, food, fashion, social manners, etc. has come also great uncertainty. For the migrant worker uncertainty is one of the key elements of their existence. Zhang Dali wanted to bring these people and their hard, bitter lives to the attention of others, and did so by creating head and body casts of volunteers from among these people as well as painting their portraits in his AK-47 series.The presentation of the body casts is vital to transmitting the artist’s message. They are shown hanging upside down from ropes tied around their ankles. The imagery is shocking: hanging like carcasses of meat, in mid-air, in limbo. The artist uses the Chinese “dao xuan” to express being upside down in limbo without any inner strength to turn their bodies. These works capture the spirit, or lack thereof, of these workers. For Zhang Dali, his sculptures are living taxonomy, a human version of insect samples (”biao ben”) except the specimens are live people. It is a documentation of the species at a specific moment in history.

Unlike most other commercial areas of photography, wedding photographers need not be full-time or “professional” photographers. Most weddings occur on weekends-when most people are not working at their regular nine-to-five jobs-and anyone who owns the proper equipment and possesses the ability can photograph a wedding. For this reason, many people are or would like to become what professional full-time photographers call “weekenders”. Weekenders frequently start out very innocently, when a friend or relative who knows that they take “nice pictures” asks them to take pictures at a wedding.

Temperament is as important to a wedding photographer as fine pictures. A typical wedding day may include encounters with crying mothers, intoxicated or angry guests and a variety of people who may intentionally or unintentionally become bothersome. Being able to deal with interpersonal relationships is therefore an invaluable asset. Short tempers, ulcers, a heart condition, and the like are not conducive to this type of work. On the other hand, some photographers, because of their charm, are so well liked that the client will be very happy with the pictures if they are slightly flawed in some way.

Once you decide to become a wedding photographer, two important questions arise. The first is how to learn to become a good wedding photographer. The emphasis here is on the word good, since anyone who takes pictures, assuming that the photographs are relative clear and properly exposed, can be considered a wedding photographer. The second question is whether to freelance or work for a studio. Apprenticeship may be a little-used expression in most other fields. It is however, the best way to learn wedding photography.

To really appreciate the strains and complexities encountered, you must go out and see what it’s like. The standard procedure calls for the apprentice to first watch what the photographer does. Once he thinks he knows what is happening, he will be able to assist the photographer in setting up equipment, he will be able to assist the photographer in setting up equipment or posing people. Later, using his own equipment, he will be allowed to shoot doubles of what the photographer takes. When the photographer feels confident in the work of his apprentice, he will allow him to shoot parts for the wedding alone. The final stage is when the apprentice-now photographer-does an entire job on his own.

Some wedding photographers work for studios as weekenders, some for themselves as weekenders, and many, to the chagrin of studio owners, do both. Most studios want people who are experienced and who can show samples of work already completed. A studio may train you if it feels that you have potential and show desire. Even if you have experience, a studio may want to retrain you to follow its particular style. Studios expect their photographers to work on a regular basis. They do not want to book your own jobs, nor are they happy if you work for their competitors. The greatest competition for most studios are weekenders,and usually their own! Talented freelancers have the potential to earn high fees. Getting started is the most difficult problem. No one wants you to experiment on their wedding day. One shortcoming of being a freelancer is that some brides insist that some formal pictures be taken in a studio.

Most mastering facilities have to charge an hourly rate for the time it takes to do compression, stereo-image-adjustments, equalize, or whatever else necessary to prepare the music for CD and Vinyl production and hence replication. In getting your recording as close as you possibly can to the sound you want in the end as you can before entering the premastering, you can also reduce those charges. However, nowadays there are mastering studios that offer their work completely online (so called “online mastering”, or “iMastering”/”eMastering”), worldwide, at a flat fee. Transfer of your music is done online as WAV or AIFF files, they master (premaster) them and send a finished physical CD (or CD Image for Nero / Toast) back to you which you then take to the replication facility.

Important points to ponder when doing the mixing are making sure the instruments are mixed properly and the need for each is appropriate. By need it is mostly the reference to the use of re-verb, equalizing and effects similar that allow the instrument or voice sound like it is immersed into the mix, or the absence of them that makes the instrument or voice sound like it is right in your immediate area.

Using a mix with the guitar processed with re-verb and chorus, and having the lead vocals dry, for example, could sound unrealistic due to the fact that the guitar will appear to sound like it is further from you than the vocalist, which will appear to be screaming in your face. But if that is the effect or sound you want to portray, go ahead. But, as a general rule of thumb it can be annoying, and may result in ear and listener burn-out, which obviously you do not want!

If you happen to be faced with a scenario where your available tracks necessitated you to make the rhythm section mono, make sure that you apply the re-verb to them in stereo. This method will enable you to create an illusion of a stereo-image though the drums are in mono, and add to the sound quality.

You also need to use good speakers that are equidistant from your listening area so you get a realistic stereo image, and, if you can, listen to your mix through several different speakers. In the event you have a boom-box available to test the mix through that, or possibly a car stereo, or even on one your friend’s high end stereo systems. This will allow you an opportunity to get the highest level of “compatibility”, reveal most of the flaws the mix might have and assure the mix is as good as it can get before supplying it for premastering.

In so far as tricks go for using effects on the mix, it is completely a matter of your personal preference. If you like the overall sound that is the goal. So, long as it sounds good on as many systems as possible, it is good. Though try to avoid compressors and limiters on the masterbus when supplying your mix for premastering (though it is OK if you have them running when doing the mix, just take them off when doing the bounce for the mastering house). In general, too much processing starts to sound weak, and using too much re-verb is a common error as well. Try to keep things clean and make sure the sources (e.g. the equipment and room you use to record the guitar/vocals, etc.) sound as good as possible already so that they require just very few processing during the mixing. This is the real “trick” to get a great mix and afterwards a great master and CD after you have sent it to the mastering house and replication facility.