Museum of Contemporary Art of Chicago - MASP - São Paulo - 4K Walking
Sheraton da Bahia Hotel, Salvador, Salvador, Brazil
Book now -
Sheraton da Bahia Hotel
Avenida Sete de Setembro 1537, Salvador, BA, 40080 - 001, Brazil
___________________________________________________________________
Luxury hotel with 2 outdoor pools, near Museum of Modern Art
Free breakfast and free WiFi
This hotel has 284 rooms
⁴ᴷ⁶⁰ Walking Rio de Janeiro - Brasil : Centro - Campo de Santana, Lapa e Praça Paris
Welcome to Rio de Janeiro!
Central do Brasil, Campo de Santana, Lapa e Praça Paris.
Central do Brasil Station, Santana Field, Lapa and Paris Square.
Google Maps:
0:08 - Trem da SuperVia
0:21 - Estação Central do Brasil
3:23 - Praça Cristiano Otoni
4:20 - Estação de Metro Central do Brasil
6:22 - Av. Presidente Vargas
6:42 - Campo de Santana
13:30 - Museu do Corpo de Bombeiros Militar do Rio de Janeiro
17:45 - Praça da República
19:20 - Rua da Constituição
20:55 - Rua Visconde do Rio Branco
21:08 - Rua dos Inválidos
22:30 - Paróquia Santo Antônio dos Pobres
22:49 - Rua do Senado
24:36 - Polícia Central
24:49 - Rua da Relação
27:21 - Av. Mem de Sá
27:32 - Rua do Resende
29:05 - Av. Gomes Freire
30:47 - Rua do Lavradio
32:27 - Arcos da Lapa
33:18 - Rua Evaristo da Veiga
34:56 - Travessa do Mosqueira
36:07 - Rua Teotônio Regadas
37:15 - Rua do Passeio
37:32 - Rua Teixeira de Freitas
38:02 - Rua Moraes e Vale
39:06 - Av. Augusto Severo
41:29 - Rua Joaquim Silva
43:48 - Rua Teixeira de Freitas
44:07 - Praça Paris
Thanks for Watching.
Genivaldo Amorim - Museu de Arte Contemporânea de MS, Brasil, 2017
Genivaldo Amorim
Bicho de corpo mole, mas de pele boa
Exposição Individual (Solo Exhibition)
MARCO - Museu de Arte Contemporânea de Mato Grosso do Sul (Museum of Contemporary Art)
Campo Grande MS
Brasil (Brazil)
2017
mulher The Brazilian Art Exhibit at Somerville Museum
mulher The Brazilian Art Exhibit at Somerville Museum, on March 2010 with Lineu Zadereski.
Why is Modern Art so Bad?
For two millennia, great artists set the standard for beauty. Now those standards are gone. Modern art is a competition between the ugly and the twisted; the most shocking wins. What happened? How did the beautiful come to be reviled and bad taste come to be celebrated? Renowned artist Robert Florczak explains the history and the mystery behind this change and how it can be stopped and even reversed.
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Script:
The Mona Lisa... The Pieta... The Girl with a Pearl Earring. For a score of centuries, artists enriched Western society with their works of astonishing beauty. The Night Watch... The Thinker... The Rocky Mountains. Master after master, from Leonardo, to Rembrandt, to Bierstadt, produced works that inspired, uplifted, and deepened us. And they did this by demanding of themselves the highest standards of excellence, improving upon the work of each previous generation of masters, and continuing to aspire to the highest quality attainable.
But something happened on the way to the 20th Century. The profound, the inspiring and the beautiful were replaced by the new, the different, and the ugly. Today the silly, the pointless, and the purely offensive are held up as the best of modern art.
Michelangelo carved his David out of a rock. The Los Angeles County Museum of Art just offers us a rock, -- a rock -- all 340 tons of it. That's how far standards have fallen. How did this happen? How did the thousand-year ascent towards artistic perfection and excellence die out?
It didn't. It was pushed out. Beginning in the late 19th century, a group dubbed The Impressionists rebelled against the French Academie des Beaux Arts and its demand for classical standards. Whatever their intentions, the new modernists sowed the seeds of aesthetic relativism -- the beauty is in the eye of the beholder mentality.
Today everybody loves the Impressionists. And, as with most revolutions, the first generation or so produced work of genuine merit. Monet, Renoir, and Degas still maintained elements of disciplined design and execution, but with each new generation standards declined until there were no standards. All that was left was personal expression.
The great art historian Jacob Rosenberg wrote that quality in art is not merely a matter of personal opinion but to a high degree . . . objectively traceable. But the idea of a universal standard of quality in art is now usually met with strong resistance if not open ridicule.
How can art be objectively measured? I'm challenged. In responding, I simply point to the artistic results produced by universal standards compared to what is produced by relativism. The former gave the world The Birth of Venus and The Dying Gaul, while the latter has given us The Holy Virgin Mary, fashioned with cow dung and pornographic images, and Petra, the prize-winning sculpture of a policewoman squatting and urinating -- complete with a puddle of synthetic urine.
Without aesthetic standards we have no way to determine quality or inferiority. Here's a test I give my graduate students, all talented and well educated. Please analyze this Jackson Pollock painting and explain why it is good. It is only after they give very eloquent answers that I inform them that the painting is actually a close up of my studio apron. I don't blame them; I would probably have done the same since it's nearly impossible to differentiate between the two.
For the complete script, visit
Best places to visit
Best places to visit - Campo Belo (Brazil) Best places to visit - Slideshows from all over the world - City trips, nature pictures, etc.
Best places to visit
Best places to visit - Touros (Brazil) Best places to visit - Slideshows from all over the world - City trips, nature pictures, etc.
Best places to visit
Best places to visit - Iguape (Brazil) Best places to visit - Slideshows from all over the world - City trips, nature pictures, etc.
Symposium | Piranesi, Rome, and the Arts of Design | Part 4
Symposium: Piranesi, Rome, and the Arts of Design
March 30, 2013
Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center
More is More: Piranesi and Design
Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi invented not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy.
John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University
Piranesi's Speaking Ruins: Fragment and Fantasy
Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying. Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy.
Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University
Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane
The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century.
TheSanDiegoMuseumofArt.org
Video produced by Balboa Park Online Collaborative
Symposium | Piranesi, Rome, and the Arts of Design | Part 3
Symposium: Piranesi, Rome, and the Arts of Design
March 30, 2013
Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center
More is More: Piranesi and Design
Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi invented not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy.
John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University
Piranesi's Speaking Ruins: Fragment and Fantasy
Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying. Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy.
Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University
Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane
The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century.
TheSanDiegoMuseumofArt.org
Video produced by Balboa Park Online Collaborative
Dags Vidulejs VENICE oil/canva2000Euro @ Happy Art Museum
We are the largest private art exhibition hallI In Latvia. Producers Group LtdHappy Art Museum organizes art events in ourPinakoteka and in the center of Riga Galleria Riga 7 level (250m2).Dzirnavu str 67 FREE entree, 1000 artpieces shop, ArtStudio. Latvian artists union group exhibitions, performances, literal actions, film festival,corporative events, EUROCLUB saturday18:00 Shows well attended up to 500 people a day. We offer cooperation in organizing the art exchange exhibitions. We are ready to take Your exhibition, the opening event, advertising creation and publishing. We offer our gallery collection of best contemporary recognized professional sartists paintings, sculptures, graphics. Contemporaries in the art that will become classics.
Aicinu draugos un piedāvāju sekot Info par mūsu
HAPPY ART diskusiju Eiroklubs sestdienās 18:00
@ Galleria Riga Dzirnavu67 7 līmenis 250m2
100 krēsli, WEB translācija, brīvs WIFI,
ieeja vienmēr brīva12-21 bez brīvdienām-
izstāžu atklāšanas ar mākslu, autoriem, mūziku, kino,
Mākslas studija, diskusiju Eiroklubs, konferences.
Dags Vidulejs ©+37129595885 happyartmuseum@gmail.com
Symposium | Piranesi, Rome, and the Arts of Design | Part 1
Symposium: Piranesi, Rome, and the Arts of Design
March 30, 2013
Jeffrey L. Collins, Ph.D., Professor and Chair of Academic Programs, Bard Graduate Center
More is More: Piranesi and Design
Giambattista Piranesi is best known today as a printmaker. Yet in his lifetime, he routinely signed his plates—and clearly wished to be known—as an architect, a profession that in the eighteenth-century often embraced interior decoration and furnishing. As an architect-designer, Piranesi invented not just buildings but chairs, tables, clocks, coaches, vases, candelabra, tablewares, chimneypieces, wall ornaments, and even complete rooms. Many feature in this exhibition, some on paper (where they largely remained) and some brought to life for the first time in three dimensions. In their eclecticism, visual density, and even whimsy, these exuberant modern designs may challenge our idea of Piranesi as a neoclassicist devoted solely to an image of ancient grandeur. But what were the sources and inspirations for Piranesi's ideas, and how do they relate to prevailing eighteenth-century tastes? This lecture places Piranesi's design work in its cultural and conceptual context, asking how this seemingly marginal activity exemplified the artist's broader concerns and constituted, albeit secondhand, a central part of his legacy.
John Pinto, Ph.D., Howard Crosby Butler Memorial Professor of Art and Archeology, Princeton University
Piranesi's Speaking Ruins: Fragment and Fantasy
Shortly after his first visit to Rome, Giovanni Battista Piranesi memorably wrote, Speaking ruins have filled my spirit with images that accurate drawings could never have succeeded in conveying. Piranesi's appreciation of the expressive nature of ruins is telling. So, too, is the distinction he makes between experiencing ancient architecture directly, through on-site examination, on the one hand, and studying it at several removes by means of measured drawings, on the other. Piranesi provides a poetic distillation of over three centuries of reappraisals of the value and meaning of ruins for humanists, antiquarians, and architects. Professor Pinto's lecture will use Piranesi's graphic work to explore his virtuoso variations on the theme of the fragment, his analytic strategies, and his visionary engagement with the past. It was Piranesi's genius to bridge the gap between past and present, between source and invention, thereby breathing new life into the classical legacy.
Christopher M.S. Johns, Ph.D., Norman L. and Roselea J. Golberg, Professor and Chair of the Department of History of Art, Vanderbilt University
Piranesi and the Fabrication of Rome in the European Imagination: Le Vedute di Roma and Antichità Romane
The vast majority of Europeans who studied, collected and admired the graphic works of Giambattista Piranesi never saw Rome. This fabricated Rome inspired the European imaginary in a way that is difficult to understand in the modern age of imagery overload and instantaneous access to almost everything. But Piranesi's Rome was a reality in it own right, and only those relative few who actually visited the Eternal City during their Grand Tours could compare the artist's vision with diurnal reality. Indeed, not a few Roman visitors, conditioned by their study of Piranesi's imagery, were disappointed in the modest scale and shabby surroundings of some of the greatest monuments to survive from an admired antiquity. The Views of Rome and Roman Antiquities, two of the artist's most influential series of etchings, had an exceptionally high profile in Enlightenment Europe and form the basis for his vision of Roman magnificence. This lecture will explore the connection between word and image and between image in reality in Piranesi's influential series with the intention of shedding some light on the disconnection between the scholar's and the tourist's Rome in the middle decades of the eighteenth-century.
Video produced by Balboa Park Online Collaborative
Sao Paulo (Brésil) : Itinéraire de visite touristique par vue aérienne de la ville en 3D
aircitytour.com, l'itinéraire de vos visites touristiques et culturelles en vidéo en 3D (visite virtuelle). D'autres visites sont disponibles sur aircitytour.com
Visite virtuelle de la ville de Sao Paulo (Brésil), par vue aérienne en 3D, à partir du logiciel Google Earth.
Détail de la visite par lieux :
- Citibank Hall
- Parc zoologique de São Paulo
- Jardin botanique de São Paulo
- Pont Octávio Frias de Oliveira
- Vila Olímpia
- São Paulo Aquarium
- Parque da Independência
- Parc d'Ibirapuera
- Musée d'art moderne de São Paulo
- Musée Afro Brasil
- Monument aux Drapeaux
- Casa das Rosas
- Parc Trianon
- Musée de l'image et du son de São Paulo
- KidZania São Paulo
- Tomie Ohtake Institute
- Beco do Batman
- Avenue Paulista
- Musée d'art de São Paulo
- The Football Museum
- Parque da Água Branca
- Mémorial de l'Amérique latine
- Central Zone of São Paulo
- Cathédrale métropolitaine de São Paulo
- Solar da Marquesa de Santos
- Pátio do Colégio
- Centro Cultural Banco do Brasil
- Abbaye Saint-Benoît de São Paulo
- Altino Arantes
- Prédio Martinelli
- Vale do Anhangabaú
- Theatro Municipal
- Galeria do Rock
- Pivo Art and Research
- Edifício Itália
- Praça da República
- Catavento Museum
- Municipal Market of São Paulo
- Gare de la Luz & Musée de la langue portugaise
- Pinacothèque de l'État de São Paulo
- Parc de la Luz
- São Paulo Museum of Sacred Art
- Memorial of the Immigrant
- Parque Ecológico do Tietê
- Villa-Lobos State Park
Ibrahim Miranda: Famed Printmaker and Cartographic Artist
Ibrahim Miranda paints to blind and to illuminate. Each of this halves takes up one mission or the other. And very frequently they cooperate to turn the experience into a pleasurable and terrifying mixture of confusion and clarity. Isn't this what we expect of true art?
Neliane - 9 meses - Parte 1
Shoot for client, 9 months pregnant - Niterói - Rio de Janeiro - Brasil
Locations: Campo de São Bento, Boa Viagem Beach, MAC - Museum Of Contemporary Art, Itacotiara Beach.
Ouro Preto in Brazil - World Heritage Site by Unesco ( Full HD )
Ouro Preto (from Portuguese, Black Gold) is a city in the state of Minas Gerais, Brazil, a former colonial mining town located in the Serra do Espinhaço mountains and designated a World Heritage Site by UNESCO because of its outstanding Baroque architecture.
Founded at the end of the 16th century, Ouro Preto (meaning Black Gold) was originally called Vila Rica, or rich village, the focal point of the gold rush and Brazil's golden age in the 18th century under Portuguese rule.
The city contains well-preserved Portuguese colonial architecture, with few signs of modern urban life. Modern construction must adhere to historical standards maintained by the city. 18th- and 19th-century churches decorated with gold and the sculptured works of Aleijadinho make Ouro Preto a prime tourist destination.
The tremendous wealth from gold mining in the 18th century created a city which attracted the intelligentsia of Europe. Philosophy and art flourished, and evidence of a baroque revival called the Barroco Mineiro is illustrated in architecture as well as by sculptors such as Aleijadinho, painters such as Mestre Athayde, composers such as Lobo de Mesquita, and poets such as Tomás António Gonzaga. At that time, Vila Rica was the largest city in Brazil, with 100,000 inhabitants.
In 1789, Ouro Preto became the birthplace of the Inconfidência Mineira, a failed attempt to gain independence from Portugal. The leading figure, Tiradentes, was hanged as a threat to any future revolutionaries.
In 1876, the Escola de Minas (Mines School) was created. This school established the technological foundation for several of the mineral discoveries in Brazil.
Ouro Preto was capital of Minas Gerais from 1720 until 1897, when the needs of government outgrew this town in the valley. The state government was moved to the new, planned city of Belo Horizonte.
Ouro Preto is also a university town with an intense student life. The Universidade Federal de Ouro Preto (Federal University of Ouro Preto or UFOP) has approximately 13,000 students. Many of them live in communal houses that are somewhat similar to fraternity houses as found in North American colleges. These communal or shared houses are called repúblicas, of which 66 belong to the university, called repúblicas federais, and 250 are privately owned (repúblicas particulares).
The repúblicas system of Ouro Preto in unique in Brazil. No other university city in the country has exactly the same characteristics of the student lodging found there. In many ways, the lodging is similar to that found in Portuguese universities such as the Coimbra and the tradition may have come from there. Before universities were founded in Brazil, Coimbra was where most of the rich students who could afford an overseas education went to. Each república has its own different history. There are repúblicas in which the freshmen, also known as bixos (misspelling of bichos, Portuguese for animals), have to undergo a hazing period, called batalha (battle), before being accepted permanently as residents of the houses. The final choice of the freshmen, called escolha, has to be unanimous among the senior students of the house.
The Museu Mineralógico Da Escola De Minas (Mineralogy Museum) can be of special interest to visitors. It belongs to the Mining School of the prestigious UFOP. The School opened its doors on 12 October 1823. The Museum is located at the Praça Tiradentes (No. 20), in the town's historical center, and contains a rich assortment of minerals on display, including precious and semi-precious gemstones and large crystals. Security is tight, however (for example, no cameras are allowed), due to the incalculable value of the gemstones and ores on display.
Geography:
Important Data
Population: Data from the 2010 Census (IBGE)
Resident population: 70,227 (2010 Census)
Urban area: 56,293
Rural area: 9,985
Area of the municipality: 1,245 km²
Temperature: between 6 and 28 degrees Celsius. In June and July the temperature can reach -2 degrees Celsius.
Average elevation: 1,116 m. The highest point is Pico de Itacolomi with 1,722 meters.
The city has twelve districts: Amarantina, Antônio Pereira, Cachoeira do Campo, Engenheiro Correia, Glaura, Lavras Novas, Miguel Burnier, Santa Rita, Santo Antônio do Leite, Santo Antônio do Salto, São Bartolomeu and Rodrigo Silva.
Rivers: sources for the Velhas, Piracicaba, Gualaxo do Norte, Gualaxo do Sul, Mainart e Ribeirão Funil.
Per Capita Income: R$ 63,622 ( US$33,544 )
HDI: 0.833 (Medium)
Lagoa Santa 3 - GO - BRasil
Nascente de Ãguas quentes
Museu de Arte Contemporânea de Elvas
Isabel Pinto, a responsável técnica pelo Museu de Arte Contemporânea de Elvas, fala-nos da coleção António Cachola
Dan Herschlein Looks Inside | Art21 New York Close Up
Can horror also comfort us?
Returning to his childhood home in Bayville, New York, on Long Island, Dan Herschlein works on a series of four plaster reliefs, titled Night Pictures, for a show at JTT Gallery in Manhattan. Herschlein's unsettling sculptures of headless figures, backlit windows, and lonely suburban tableaus evoke darkness and fear as a means toward emotional understanding. Herschlein recalls the feelings of aloneness and alienation that growing up in his hometown evoked, channeling those emotions into the work and explaining his interest in the voyeur as somebody who feels outside of the equation.
Temporarily working in his parents' den, Herschlein makes molds of parts of his body and sculpts headless, scarecrow-like figures in white plaster. Mounted on wood and then painted black, the figures are partially lit by single flashlight beams, inspired by Herschlein's childhood practice of illuminating cutout images in his bedroom window. The resulting reliefs are eerie and uncanny yet surprisingly tender: figures lined up against a fence grasp each others' hands as they peer into a home; an upside-down torso is peeled open to reveal a room and a window with drapes. The headless figures become metaphors for self-reflection. A big mission of mine is re-evaluating maleness and masculinity, Herschlein explains. The ability of men to bury their emotions to the point where they can't even find them is unparalleled. If I can look at that at face value, maybe it's fine to be scared or sad or anxious; it’s not such a threat.
Dan Herschlein lives and works in Brooklyn, New York. Learn more about the artist at:
CREDITS | New York Close Up Series Producer: Nick Ravich. Producer: Erik Spink. Director & Camera: Amitabh Joshi. Editor: Amitabh Joshi. Location Sound: Erik Spink. Color Correction: Chris Ramey. Sound Mix: Adam Boese. Design & Graphics: Chips. Artwork Courtesy: Dan Herschlein. Thanks: Francessca Altamura, Natalie Bell, Marie Catalano, Cut + Measure, Chuck Herschlein, Lynn Herschlein, JTT Gallery, Alex Laviola, Joe Lutz, Lynn Minicozzi, New Museum, Jasmin Tsou, & Vacant Light. © Art21, Inc. 2019. All rights reserved.
New York Close Up is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by individual contributors.
Translated subtitles generously contributed by volunteers from the Art21 Translation Project community:
FRENCH
Gaelle Monin
PORTUGUESE, BRAZILIAN
Victor Lucindo
SPANISH
Elena Fernández Cano
Become a volunteer translator by joining the Art21 Translation Project team:
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