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Billy Joel, Piano Concerto and Eastern Music Festival – World Premiere of Pop Music Icon’s Classical Work on June 23, 24, 2006

Greensboro, NC (PRWEB) April 28, 2006

The Eastern Music Festival today announced the eagerly awaited world premiere of Concerto for Piano and Orchestra by pop music star Billy Joel on June 23, 24 2006 at the War Memorial Auditorium of the Greensboro Coliseum Complex in Greensboro, North Carolina. This unprecedented collaboration will open the prestigious yet innovative American festival’s 45th consecutive season, joining a bevy of classical music heavyweights, including violinist Joshua Bell, mezzo-soprano Frederica von Stade, pianist Bruce Brubaker and the Zukerman Chamber Players.

The classical music muse has led the six-time Grammy winning pianist singer/songwriter to premiere Fantasies and Delusions, a piano music collection eight years in the making that spent eighteen weeks as the number one on the Top Classical Albums Chart in 2001. This year’s Concerto for Piano and Orchestra takes a step further and becomes a winsome tableau of four virtuosic movements for piano and orchestra drawn from materials in the 2001 recording. The Concerto showcases Joel’s tremendous sensibility, refreshing modesty, ingenuity, cohesiveness and organicity in classical music compositions, as well as integral arrangement by Jeffery Biegel and orchestration by Phillip Keveren.

The four movements are:

1 – Fantasy (Film Noir)

2 – Sorbetto

3 – Reverie (Villa D’Este)

4 – Nunley’s Carousel Waltz

The world premiere at the Eastern Music Festival features American pianist/arranger Jeffery Biegel whose career has garnered praises from Leonard Bernstein, as well as American conductor Stuart Malina, a Tony Award winner for his work on Joel’s Broadway hit “Movin’ Out,” at the helm of the resident Eastern Philharmonic Orchestra.

Now in its 45th year, Eastern Music Festival & School is recognized for its prodigious contributions to the field of American music and its commitment to nurturing talented American youth. The Festival brings high artistic quality to both public performances with America’s most sought-after artists and the academy for pre-professional students. Festival President and CEO Thomas Philion also successfully blends traditional and cutting-edge classical music fares with jazz, blues, salsa, and other musical offerings each summer. For more information about the Eastern Music Festival or its programs, please visit http://www.easternmusicfestival.org, or call toll-free: 1-877-833-6753.

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Top Contemporary Artists to Appear At San Diego Comic-Con International: From Van Eaton Galleries, The Largest Selection of Original Animation Production Art Anywhere In The World

Hollywood, CA (PRWEB) July 12, 2006

Van Eaton Galleries of Sherman Oaks, will be showcasing four of the top artists in their field at their booth, Number 501, in Exhibit Hall A at the San Diego Comic-Con International.

Appearances will be made by Author, Illustrator, and Filmmaker Gris Grimly, Director, Graphic Artist, and Author, Ragnar, Puppeteers, Filmmakers, Authors and Stop Motion artists, The Chiodo Brothers, and Animator and Artist Glen Orbik.

Van Eaton Galleries will have an amazing selection of original Chiodo Bros art for viewing and sale – including a special display of rare props from ‘Killer Klowns’, ‘Critter’s’, exclusive new artwork from two perennial Comic Con favorites – Ragnar and Gris Grimly, all of which available for signings.

Van Eaton Galleries Schedule of Special Appearances

Thursday, July 20th, 2006

The Chiodo Bros: 11am – 1pm

Gris Grimly: 2pm – 4pm

The Chiodo Bros: 3pm – 6pm

Ragnar: 4pm – 5pm

Friday, July 21st, 2006

The Chiodo Bros: 12noon- 2pm

Gris Grimly: 2pm – 4pm

Ragnar: 4pm – 5pm

The Chiodo Bros: 4pm – 7pm

Saturday, July 22nd, 2006

The Chiodo Bros: 10am – 12noon

Gris Grimly: 2pm – 4pm

The Chiodo Bros: 2pm – 6pm

Sunday, July 23rd, 2006

The Chiodo Bros: 12noon – 3pm

The Chiodo Bros. – Charlie, Stephen and Ed will be appearing daily at the Van Eaton Galleries Booth #501. The Chiodo Bros. are best known for the cult classic, “Killer Klowns from Outer Space.” circa 1988 and the puppetry in “Team America, World Police.” The Chiodo Bros. are Emmy Award winning, Producers, Writers & Directors.

Glen Orbik – Pulp Book Cover Artist with a Noir Style with appear at the Van Eaton Gallery Booth #501 on Saturday, July 22, 2006 from 3:00 PM to 5:00 PM. Orbik’s skills garnered him book covers for works written by Ray Bradbury and Stephen King. Additionally, Limited Edition Artwork will be available for sale from his DC Comic Fine Art.

Gris Grimly – New Original Art, “new” Limited Edition titled “Three Little Kittens” from the Wicked Nursery Rhymes Book. “new” Limited Edition titled, “Road to Nowhere” – original inspired art, Original Art from his infamous T-shirt designs from the year 2001. Gris will be appear daily from 2pm – 4pm.

Ragnar – New Limited Edition Releases include, “The Quitting”, “Late at Seven”, “….And In The Other Room” These are large format Giclee’s on Canvas. We will also feature his new Books, “Kings of the Road”, “Chromofile II”. Older book list include, “Got Your Nose”, Izzy’s Very Important Adventure.” Ragnar will appear at the Van Eaton Booth #501, Thursday, July 20th and Friday, July 21, 2006 from 4:00 PM to 5:00PM.

ABOUT COMIC-CON, SAN DIEGO

The San Diego Comic-Con International is the largest gathering of Comic Book and Pop culture Fans in the world. “We have been involved with this convention for over 13 years,” according to Van Eaton Galleries owners Janeen & Mike Van Eaton. “Each year the convention continues to grow. Our exhibit space has grown to over 1,000 square feet and the professionals that we are bringing in this year to discuss their trade, will be a highlight of the event.” Van Eaton Galleries will be showcasing thousands of pieces from original animation artwork as well.

ABOUT THE ARTISTS’

Noted storyteller and award-winning author Gris Grimly’s work is noted as being “stylish, funny, and gloriously ghoulish” by film director Clive Barker.

The fine art of Ragnar opens an alluring window onto a world of masterful graphic geography, sizzling with all the seduction of great film noir. Noted Animator/Director Ralph Bakshi has called Ragnar’s newest book “Kings Of he Road” “Brilliant Illustration and cartooning, a throwback to the golden age of magazine illustration in america…”

The Chiodo Brothers are notorious for their work in Team America: World Police, producing the puppets, and also the cult classic “Killer Klowns from Outer Space”, producing and directing the sci-fi horror film.

Pulp and comic book artist Glen Orbik’s work has been seen on the covers of Ray Bradbury and Stephen King books. His art has also been featured in several major Comic Book series, including Batman: Legend of The Dark Knight”, and “The Art of Marvel”.

ABOUT VAN EATON GALLERIES

Van Eaton Galleries has established themselves as a presence at the convention and as a force for the introduction of new and popular artists in the animation and Pop/Contemporary Art World.

For more information on Van Eaton Galleries visit http://www.vegalleries.com.

For more information on the San Diego Comic-Con International visit http://www.comic-con.org

Van Eaton Galleries

13613 Ventura Boulevard

Sherman Oaks, California 91423

Phone: 818.788.2357

MEDIA CONTACT

Tracie Lynn Tucker

310-857-6970

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“The Battle of Algiers” World Film Forum Presentation
Event on 2011-10-26 16:45:00
Location Information:
West Lafayette

"The Battle of Algiers" (1966), is one of the most influential political films in history. The film is critically celebrated for its depiction of urban guerilla warfare and the torture to which the French colonialists subjected the revolutionaries, as well as for its experimental simulation of newsreel and documentary footage. The film depicts events from the Algerian War of Independence, when native Algerians rose in revolution against the European pieds-noirs settlers. PLEASE NOTE that the actual screening of "The Battle of Algiers" begins at 5:15 pm. Refreshments are served 4:45 pm; Prof. Paula Leverage will introduce the film soon after 5 pm. Discussion will follow the movie. "The Battle of Algiers" forms part of the Fall 2011 World Film Forum series; it is one of three films relating to the theme of "Re-visioning Terrorism," which is the topic for a major interdisciplinary conference to be held in the Dept of Foreign Languages & Literatures this September. If you wish to join an email list to receive information about World Film Forum events, please email asyson@purdue.edu. WEST LAFAYETTE PUBLIC LIBRARY

at Purdue University
2325 Chester Blvd
West Lafayette, United States

World on a Wire
Event on 2011-09-17 14:00:00
World on a Wire
"A textbook example of a film that was ahead of its time…anticipates "Blade Runner" in its meditation on artificial and human intelligence and "The Matrix" in its conception of reality as a computer-generated illusion."-New York Times

The theatrical release of Rainer Werner Fassbinder's "World on a Wire" is one of the most-anticipated film events of the past year. Originally produced for German television, this sci-fi thriller has been seen in only a handful of retrospectives since its initial broadcast. Fassbinder's satirical take on the future mixes Stanley Kubrick, Phillip K. Dick, and Kurt Vonnegut in equal parts. His dystopian sci-fi noir follows a cybernetics engineer who uncovers a massive corporate/government conspiracy that threatens (virtual) reality as we know it. (Rainer Werner Fassbinder, 1973, 212 mins., 35mm)
Date and time: September 17, 2011
2:00 PM
Location: Wexner Center Film/Video Theater
Contact: Ticket Office
Phone Number: 614-292-3535

at Wexner Center for the Arts
1871 North High Street
Columbus, United States

INDIA

Whistling Woods International:

Despite being home to the world’s largest film industry, just five years ago India was in need of better-equipped film institutes. Enter veteran filmmaker Subhash Ghai, who launched Whistling Woods International, Asia’s largest film, TV, animation and media arts institute. Located on 20 acres in Mumbai’s Film City studio complex and sponsored by Ghai’s Mukta Arts (which has produced some of Bollywood’s biggest hits), WWI’s faculty is headed by dean John Jerome Lee, a former entertainment industry executive. Its advisory board includes acclaimed director Shyam Benegal and superstar Shah Rukh Khan, DreamWorks Animation’s Shelley Page, “Elizabeth” director Shekhar Kapur and producer David Puttnam. “Almost 80% of people working in the industry don’t have professional training and hence end up learning on the job, which was the impetus for us to launch WWI,” says Ghai’s daughter, Meghna Ghai Puri, who is also WWI’s president. “It offers a unique, two-year MBA in media and entertainment (for) people who want to be executives in areas such as marketing and finance.” Specializations include directing, cinematography and editing, along with animation and acting. Tuition is about ,900 for the two-year program. 
— Nyay Bhushan

Australia

The Australian Film, Television and Radio School:

The Australian Film, Television and Radio School has undergone some significant changes in the past two years, including the move to a new state-of-the-art campus in Sydney’s film hub and an overhaul of the courses it offers to students and established industry practitioners. The 37-year-old national film school, funded annually by the Australian government with million last year, holds a key position in the Australian film community with more than 2,000 graduates passing though its doors in that time. AFTRS alumni include Oscar-winning cinematographers like Dion Beebe (“Nine”) and Andrew Lesnie (“The Lovely Bones”) and director Jane Campion (“Bright Star”). An array of courses covering producing, digital media and visual effects, art direction, documentary, screenwriting, screen music, production design and editing are offered, but at the heart of the school are its award courses for new and emerging filmmakers. They include a foundation diploma, a graduate certificate and graduate diploma. Positions in those highly competitive courses are given each year on a merit system based on students’ creative portfolios. 
— Pip Bulbeck 

FRANCE:

La Femis

Only 3% of hopefuls who take the entrance exam get into la Femis, the country’s most prestigious film school. Housed in Pathe’s old studios on Paris’ rue Francoeur, la Femis is a public institution under the French Ministry of Culture and Communication, meaning tuition is free to French students. It offers a well-rounded overview of the film business, including artistic development and technical training. Alumni include the creme-de-la-creme of French filmmaking, from Louis Malle, Alain Resnais and Costa-Gavras to newcomers like Francois Ozon, Laetitia Masson, Noemie Lvovsky and Rebecca Zlotowski. In their first year, students are initiated into all aspects of production before specializing in a specific field chosen from seven main departments: directing, editing, sound, set design, cinematography, screenwriting and production. “More than 500 professionals come each year to give special classes or speeches,” says Marine Multier, head of communications. “This helps our students succeed in the professional world after they leave.” 
— Rebecca Leffler

 

GERMANY

Baden-Wurtemberg Film Academy

While most European film schools focus on film history and the philosophy of cinema, at Baden-Wurtemberg they roll up their sleeves and get to work. When Roland Emmerich wanted a team to wipe out humanity for 1996′s “Independence Day,” he went to the Baden-Wurtemberg Film Academy. Emmerich’s friend Volker Engel, who taught animation there, recruited 14 students and graduates who would go on to win the 1997 Oscar for visual effects. Known for its practical approach to filmmaking, the academy is a leader in animation and visual effects training. In 2007, trade magazine 3D World ranked it the second-best animation college in the world, just behind France’s Supinfocom. The school fields regular nominees in the student Oscar race and has twice won the honor. Tike Constantin Hebbeln got it in 2006 for “Nimmermeer” and Thorsten Schmid in 1998 for “Rochade.” On-the-job experience is a key part of the academy’s teaching. Baden-Wurtemberg only admits students who have at least one of year of practical experience in the film business and two years for its producers program. The academy also works to expose students to an international network of filmmakers by organizing exchange programs with partner institutions like New York’s School of Visual Arts and Poland’s National School of Film and TV in Lodz. Every year, Baden-Wurtemberg also organizes a Hollywood workshop, including studio tours and internships with production companies in L.A. 
— Scott Roxborough 

ITALY

Scuola Nazionale di Cinema — Centro Sperimentale di Cinematografia

Michelangelo Antonioni, Dino De Laurentiis, Vittorio Storaro and Italian screen icon Claudia Cardinale are just a few of the famous names who began their film education at the Centro Sperimentale, the oldest and most prestigious film school in Italy. Once accepted by the school’s highly selective board, acting students study with leading man Giancarlo Giannini, cinematography students learn from Giuseppe Rotunno (Fellini’s lenser on 1983′s “And the Ship Sails On”) and would-be directors work with helmer Roberto Faenza (“By the Light of Day”). Connected to the Cineteca Nazionale, one of the biggest film archives in Europe, the CSC regularly organizes seminars with international filmmakers, from Martin Scorsese to Wim Wenders. While continually upgrading its state-of-the-art equipment, Centro’s tuition is a very reasonable at ,000 per year for the two- and three-year programs. “One of Centro’s peculiarities is its total effort in involving the students in all the movies made by CSC Production, and introducing graduates into working crews,” says dean Andrea Crisanti. 
— Martina Riva

 

 

JORDAN

Red Sea Institute of Cinematic Arts:

Offering the first and only MFA program in cinematic arts in the Middle East and North Africa, RSICA is a joint venture between the Royal Film Commission of Jordan and the School of Cinematic Arts at USC. Located in historic Aqaba (which any aspiring filmmaker should recognize from “Lawrence of Arabia”), RSICA launched in 2008, graduating its first class of 21 students in May 2002. With tuition in the ,000 range, the school is another step forward for Jordan, which has garnered Hollywood’s attention recently through an aggressive campaign to expand its burgeoning film sector. “Jordan is by far the most progressive and secular regime in that region,” says James Hindman, dean and chief academic officer. “They started developing a media plan in 2003 which included a very active, western-style film commission as well as training for crews.” With students coming from all over the region, including Lebanon, Kuwait, Syria and Iran, Hindman says the goal is to offer practical training that will allow them to “function on any film set in the world.” “We want them to be able to eat,” he adds with a laugh.
— Kevin Cassidy

PHILIPPINES

The International Academy of Film and Television, Philippines:

Founded in 2004, the IAFT is located at Bigfoot Studios, a professional studio on the tropical resort island of Cebu, giving students access to state-of-the-art equipment and facilities. “The academy prides itself on bringing Hollywood to Asia and a hands-on approach to filmmaking education,” says Mark Martin, IAFT’s executive director. He notes that, through Bigfoot Entertainment, students get to work on the sets of feature films for international release. The academy offers various diplomas in filmmaking, sound design and acting, and recently started a nine-month professional immersion program that guarantees students experience on one feature film from preproduction to post. IAFT has also signed an agreement with Jacksonville University allowing graduates to enter Jacksonville’s B.A. program as sophomores. About 70 students graduate each year, with fees ranging from ,970-,290. 
— Sonia Kolesnikov-Jessop

 

University of the Philippines Film Institute:

The University of the Philippines Film Institute offers a four-year bachelor’s degree in filmmaking, which combines film theory and production courses, as well as a master’s degree in media studies. Both cost about ,000 a year. The institute, which has about 75 film graduates a year, is equipped with basic camera and lighting equipment and has an editing lab for post production. In addition to lectures by notable Filipino cinematographers such as Nap Jamir and Neil Daza, the Institute offers workshops and short training courses covering all areas of production. “UPFI produces filmmakers, not technicians,” notes senior lecturer Sari Delana. “Whether it is in mainstream filmmaking, independent filmmaking or television, many of our alumni have become directors.” Recent alumni include helmers Raya Martin, who has had three films screened in Cannes, and Pepe Diokno, whose first feature, “Engkwentro,” won the prize for best debut at Venice last year. 
— Sonia Kolesnikov-Jessop

SINGAPORE

Chapman University Singapore:

Chapman University’s Dodge College of Film and Media Arts partnered with Ngee Ann Polytechnic in Singapore in 2008 to offer an accelerated two-year degree program in creative producing. Specifically designed for film or communications graduates, its emphasis is on “content development and the creation of international co-productions,” says dean Robert Bassett. Students can participate in a summer internship in China or an immersion program in Los Angeles. In addition, Singaporean students can work with those in Chapman to produce cross-cultural documentaries. Fees vary from ,900 a year for Singaporeans to ,470 for foreign students, who graduate with a fully fledged BFA from Chapman. 
— Sonia Kolesnikov-Jessop

 

New York University, Tisch School of the Arts Asia:

Tisch opened its first international campus in Singapore in 2007, producing its initial class of graduates in May. The Asian campus now offers four MFA degrees in animation and digital arts, dramatic writing, film and international media producing. The curricula are identical to those at the school’s New York Campus, explains the school’s president, Pari Sara Shirazi. The schools even share some teachers, such as Todd Solondz and Oliver Stone, the artistic director of Tisch Asia. Singapore-based students have access to the New York campus’ summer programs as well as internships, but are required to complete their studies in Singapore, at a cost of about ,000 a year. The school’s production facilities include two fully equipped teaching soundstages as well as access to a wealth of animation technology. “During the first year, students are immersed in both the art and craft of animation,” says Jean-Marc Gauthier, director of the animation & digital arts department, Tisch Asia. 
— Sonia Kolesnikov-Jessop

TAIWAN

National Taiwan University of Arts:

Counting Ang Lee, Hsiao-Hsien Hou and Chung-Hou Wang (Tung Wang) among its alumni, the Taipei university has had an independent department of motion pictures since 1981 and now features eight full-time faculty members and 20 part-timers. Its bachelor’s and master’s programs offer hands-on production experience, coupled with a broad exposure to the liberal arts. Students can choose between two course tracks: film production or cinema studies. To graduate with a master’s, they must complete either a thesis or a creative work in the form of screenplay or film production. Since 1999, the department has held the Golden Lion International Student Film Awards, Taiwan’s only student film competition recognized at an international level. 
— Sonia Kolesnikov-Jessop

 

UNITED KINGDOM

National Film and Television School:

 

Oscar-winning animation guru Nick Park, award-winning cinematographer Roger Deakins and directors Lynne Ramsay, David Yates and Michael Caton-Jones all share this: They went to the U.K.’s National Film and Television School. The school offers two yearlong post-graduate M.A. courses in specific arenas, like directing or cinematography. “Our competitors abroad offer much longer courses and are more generalist,” notes NFTS director and veteran producer Nik Powell. “Our courses are intense from the word go and not leisurely.” Located on the outskirts of London, NFTS boasts the largest exclusive stage facilities for any school other than the Australian National Film School. 
— Stuart Kemp

 

Article by Shaun Parker

The cinematic qualities of home and office furniture in the movies is often overlooked. But the truth is that imposing tables, eye-catching desks and high octane seating of all kinds have become the silent movie stars in decades of film. Be it a film noir thriller or a gentle romance – these laminated, varnished or lacquered actors lurk in the background of some of the greatest movie moments ever. Some might say they are a little wooden, their demeanour a tad tinny, that the director just wheels them on and they just sit there. But the truth is that although they may not be the finest character actors, office furniture of all kinds has added a certain finesse to some of the world’s finest flicks.

Make me an offer I can’t refuse. It’s 1972, and Francis Ford Coppola is working on his seminal work The Godfather. Would the power of Marlon Brando’s performance be quite as impressive without that memorable colonial-style desk that he commands his criminal empire from? The heavy oak character of this most formidable piece of office furniture lends Brando even more credo as he barks his classic lines. The more imaginative of film connoisseurs might see this desk as an extension of the Mafia boss’s ego – rooted to the spot, immense, unmoveable – the boss. More than just office furniture.

From a comedic standpoint too, it may be surprising to discover that office furniture has played a significant role in the odd gag. In Guy Richie’s Lock Stock and Two Smoking Barrels (1998), a glass table made the ultimate sacrifice for a gag. Nick the Bubble, well, he’s in trouble, and clumsily drops his drink in a meeting with a crime lord, shattering the table – much to the annoyance of the boss. It is rumoured that the dropping was an accident, which Richie later decided to leave in the final cut. This is a fine example of a piece of office furniture doing a bit of ad-libbing, if you will.

Continuing the theme of office furniture giving their all for a performance, several high-quality sofas get put beyond use in the 1992 film True Romance. As the movie heads towards its climax, a rather fetching white sofa set gets caught in the cross fire – and we see it spill its guts (or duck feathers), making the role its own in the process. A rather memorable scene is the result, as pretty feathers float through the air, while bullets fly and blood spills. A poetic juxtaposition of peace and violence.

So the next time you’re watching your favourite film, with your favoured actor in it, take a moment to scan the background, or what the main character is sitting on. You may just find an impressive supporting actor, in the form of a quality piece of office furniture. Prop managers spend a great deal more time than you might think on choosing just the right piece of office furniture for the role. The right piece of furniture adds to the atmosphere and drama, so much so that sometimes one wonders who the real star is!

About the Author

Shaun Parker is a furniture expert with many years of experience in interior decor. Find out more about office furniture at http://www.planscapeuk.com/

Are you a fan of the darker movies? Do Batman, Touch of Evil, Sin City, and The Maltese Falcon make you pee your pants (You don’t pee your pants while watching your favorite movies!?!…well…yea…me neither)? Learn how to get that look with the right lighting, writing, and tons of other great tips. Even if you don’t make movies…this ode to Film Noir will have you jumping in your seat (or promptly leaving it).
Video Rating: 4 / 5

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Article by ILONA

DedicatedTo all past, present and future innovative visual fine artist

Chapter One What is Visual Fine Art in comparison to other art forms?

Visual Fine Art – is the oldest and the highest Art form among all other arts.Origins of the forms of art were found in ancient caves that date back thousands of years, in mankind’s infancy. And pictography was the first way of communicating among early humans. As far as we know, it was the only way to communicate before the spoken and written language were developed, pictography was a main method of communication. Pictures of animals or hunters on the caves’ walls has been dated to be more than twenty thousand years old and is ancient proof that pictography has been a basic form of communication.Fine Art is advanced over the performing arts; music, singing and dancing. Also above art if cinematography. Art of entertainment is booming. Hollywood stars, singers and dancers getting all the recognitions and having lavish lives, starting during their young years. However many talented and innovative, visual artists get recognized when they are very old or have passed on, this old dilemma needs to be and can be changed.Writing this important message to the world , I am doing my part to be heard and seen as a fellow artist and visual creator who is still around and not that old, and wants to make a change in a stale existence of the art world. There should be no more innovative starving artist. True talented visual artist should not strive and struggle in poverty all their lives, we need to be recognized and well rewarded during our lives. In the same way as movie stars, performers or even ball players get their recognitions and rewards. Art dealers should no more sell original art pieces from artist that is no longer here to benefit from the sales. No more art dealers selling past artist original works for huge amount of money, .art dealers should have no right to resell and capitalize on the work they did not produce and live their lives in luxury by those sales. This is the worse form of stealing from artist who is long gone. There are many examples one of them now famous artist: Vincent Van Gogh, his each painting is selling for sixty million dollars, what a shame. When one reads Van Gogh’s biography of his difficult poverty stricken life that he lived, often eating his paints in order to survive and the suicidal ending makes one cry. Vincent Van Gogh does not want us to sob, he wants us to prevail and make sure that no more of his unfortunate life saga repeats ever again. And many other artists want us to change the unfair life pattern of a talented innovative fine artist. My personal wish; when I am gone, none of mine original art never to be sold by anybody, and this will be my part to change to the fine art world for better.

Chapter two.The Difference that exist between talented, creative artist and commercially technically trained artist.

Art academy schooling for art techniques -represents as of a harness on a horse, for an artist. They have no freedom to fly their creativity, all tied together and their mind follows their technical knowledge that academy artist acquires up on graduating. These academy artists become commercial artist they learned and polished their techniques and all their work looks very alike and mass produced.

This is one of my poems about – horses in a harness.…They cannot run too far, they cannot reach field of spring flowers,And fresh grasses, they cannot fly under the clouds and raindrops freelyBecause they are controlled by the strap, That always guides them where to go today and tomorrow.These harness horses are always under control

This poem describes the analogy between trained commercial artist and harness horses.Good example of trained commercial artist is Thomas Kinkade. If you have seen his work it represents one image of a house with glowing yellow lights from its windows.Kinkade is a manufacturer mass producer of his same or similar images that are printed on various household products like carpets, blankets, pillows etc, and sold in home accessories stores nation wide. There was a 60 minutes TV show made on Thomas Kinkade manufacturing empire to identify if he is an artist or a commercial businessman. The 60 minutes showed that he is very successful manufacturer and commercial businessman, not an innovative artist. Similar to Thomas Kinkade there is Bob Ross another commercial artist. He has televised art classes that he is teaching on public television. Ross teaches his same techniques on how to paint same or very similar landscape for hobby artist. He also license some of the art supply under his name to get royalties when item is sold. Bob Ross is also very successful businessman. Once Bob Ross have had admitted himself on his television show that he cannot paint a portrait no matter how hard he had tried.

In words of famous Russian writer philosopher Lev Tolstoy; “Artist should be able to draw, paint, sculpt design anything only then they are true talented fine artist.”

Creative innovative artist are wild horses, no one controls us directs were to go. Creativeartist can fly high in their imaginations we let our creativity loose. We do not know anytechniques, mistakes, rules and regulations. We innovate, try and discover spontaneously everything new and different each time we at work. Creativity is very important, thiswhat keeps the world going.Good example of creative artist is Leonardo De Vinci this genius lived fivehundred years ago. There is no singer or dancer who lived five hundred years ago and isstill known, this is a direct proof that Fine Visual Art is the highest form of art above allother categories of art including performing art. . Leonardo’s natural talent and abilitieshave great remark on progress in art, architecture, technology and science. The firsttransportation unit which was then the bicycle was invented by Leonardo De Vinci . Hewas so remarkable that his work still remains a mystery and is active in scientific studiestoday. De Vinci ‘s paintings of Mona Lisa and her mysterious smile, his numeroustechnological inventions and working prototypes and scientific discoveries.

Chapter three What is technique style ?Style is specific technique or way of painting that is comfortable and is adapted by artistto use . Many academically trained artist adapt a specific technique that they havepracticed over the years and feel comfortable with. This artist stick to the technique andare afraid to try something new, because as I have mentioned earlier these artist areharness artist.

Creative artists have a lot of styles we always trying something new, we don’t like tohave our work look same , it will be boring and it will hinder our creative process. I amposting some of my various art work on this message blog. Majority of this art pieces thatyou see have been done by me long time ago in my early 20′s. Me personally by reinventing each painting when I paint that is my goal. I’ll trysomething different by forgetting about my previous painting , in order to prevent mypaintings to look alike. Often I get a comment;” Your paintings look beautiful anddifferent like they have been done by different artists..” That is a big complement for me,this what I strive for, I don’t want my paintings look the same. Copying your work overand over like commercial artist do hinders any creativity to surface and alike paintingsare not a fine art it is mass produced inventory.

Chapter four Believing in yourself and just trying it.My art “career “contained many rejections up on rejections, although my art work has been exhibited and some of the pieces were published I never was paid for it. So I have tohave various customer service phone banks, retail jobs and do my art out of my smallbedroom.When I am tiered with painting, I make sculptures, draw, design new apparel , accessory,exercise unit, etc. I have few patent pending and some working prototypes made. Whatever you start any tasks or challenges it is important to see them through. Challenges areworth doing they open your mind, free you from limitations that you think you have ,itbuilds your confidence, and even when you think you fail you did not. Real failure whenyou did not try at all.I personally struggled with my self esteem all my life. Just recently my self esteem began strengthening it is from doing many projects not just art ,also speaking out formyself, writing. For many years I thought I could not write at all, this was my biggest phobia. Iwould ask other people just to write simple notes for me. Until I tried and Iwas wrong, not only I can write I have graduated from college with honors and degree inBusiness Management. My favorite subjects were Philosophy and expressive writing.Writing proved to me to be very powerful, effective form of communication. Things getdone when we put them in writing. The things we think we cannot do, it’s false our mindplay trick with us . Fears are our worst enemies, and just doing good things willget us ahead in life. We all are God’s best creations and there is no way we are failures.

Chapter five Writing verses reading.I enjoy writing however I am not big fan of reading. During my school years I read whatwas required of me in order to graduate. What really surprised me when I was in college I took my very first Philosophy class,before that I never heard of any philosopher nor their philosophical views. incredibly surprised for myself I intuitively knew all of their thoughts. How is thatpossible I would ask myself I never heard of Plato nor Socrates before this lecture classand I could finish their philosophical sayings spontaneously all of this to me was as ifthey were reading my mind and I was reading theirs. The Professor in my philosophy class had PhD in this subject and had many years ofreading and writing on it, he gave me the highest participation points and said; “I neverhad a student who received this high number of points for participation.” Some time later I went to local bookstore in a thick horoscope book under Pisces my starsign reads that March 9th Pisces are naturally good in fine art and Philosophy. No doubtwhat is set in the stars for each and every one of us , no one can change.Some time ago when I was eleven my mother took my drawings that I always did on myown, she took them and me to children’s art academy . We set down with an art directorof that academy he looked at the drawings and told to my mother; “Your daughter doesnot need to go to the art academy , she is already gifted in art, art schooling can hinderher creative abilities. Just let her do art on her own like she has been doing.” True gift is given as a blessing and cannot be acquired. Creative fine artist is a gift ,amazing voice for a great singer, or great dancers have unique ability to move and manyother special talents. We all have been blessed by our creator with different special gifts,some times it just takes time to find out what kind of talents we were blessed with.

Conclusion This blog contains an important message to the world. Hopefully our moderntechnological way of communication will help me reach as many people as possiblearound the globe so they can read and understand this message. Message from the artists,by the artist to everyone to know about stigmatic world of fine artTo be heard and get the message across hopefully one day the fair chance turn on to theworld of fine art as well. All talented, innovative artist will be recognized and rewardedthe same way as movie stars, entertainers and athletes. This would make all of us fineartist very happy. One day the rugs to riches story will happen to talented, innovative fineartist during our lives ,even better during our young lives. It will be a new beginning for the oldest past present and the future world of FineArtTo purchase a book http://07e975nbu3jw7ya5s4jovrt0jy.hop.clickbank.net/

About the Author

I enjoy healthy living my passion is to create and innovate.

Learn how to stretch fine art canvas paintings with a gallery wrap. Instruction by master acryllic artist Ginger Cook with the IfTheyCanICan.com series of instructional videos.
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