JANUARY 2014 : ISSUE #04

CondignArtWORLD CONTEMPORARY ART

ART EVENTS // INTERVIEWS // REVIEWS // ART MARKET // ART COLLECTORS TIPS & TRICKS

FROM THE BLOGFAKING IT

A TRIBUTE TOALPHONSE MUCHA

WIN AN INTERVIEWIN ISSUE #05 CONDIGN ART MAG

::: :::

CONDIGN ART MAGAZINE ISSUE #04

An interview with

internationally renowned & award winning artist

Ellen Stapleton

www.fadwebsite.com

www.fadwebsite.com

CondignArtWORLD CONTEMPORARY ART

S ISSUE 04 · JANUARY · 2014 TO

OThe publishers would like to thank everyone who has contributed to this issue.

All featured articles and related images in Condign Art retain copyright. Every effort has been made to reach copyright owners or their representatives.

CONDIGNART (ISSN #04 JANUARY 2014, Volume 002, Number 004. Published bi-monthly by Global Art Agency Limited, Oxford, UNITED KINGDOM. All rights reserved. Printed version not yet available. Reproduction in whole or in part without written permission is prohibited.

Opinions expressed in articles are those of the author. All rights reserved on entire contents. Advertising enquiries should be directed to info@condignart.com. Subscriptions are free of charge and available online. When issues become available in hardcopy we will announce on our website.

Subscriptions rates will then also be applicable. To get featured in our next issue, go to: www.condignart.com

X

INTRODUCTION 007 TOKYO STYLE ART 013 THE GODFATHER OF STREET ART 015RECYCLE ART 022 FEATURED ARTIST 027 WIN FEATURED INTERVIEW 028

008 An interview with Ellen StapletonInternationally renowned & award winning artist

012 From the BlogFaking it...

014 What Sells Art?by Philip Hock

018 A Tribute ToAlphonse Mucha

020 Ten Richest Living ArtistsStarting with...

X

X

X

X

X

p. 004

p. 006p. 006 www. lu xu r y t rave lbut le r.com

IntroductionIssue #004

Welcome to the FOURTH issue of Condign Art Magazine. World Contemporary Art Magazine created for Art lovers, Art enthusiasts, Art collectors, Artists, Galleries, Art organisations and societies.

We are very excited to publish in this fourth issue an interview held with top emerging artist Ellen Stapleton from Australia, who also won the Barcelona Best Artist Award during exhibition held at the amazing Casa Batllo by Gaudi with 150 other exhibitors.

With the festive spirit around us we have opened up a competition for artists & galleries, and art enthusiasts to enter and win an interview featured in the next issue of Condign Art Magazine.

Let us tell you more about it in this fourth issue of Condign Art Mag.

Enjoy issue #004Editor @CondignArt

p. 007p. 007

p. 008

Ellen Stapleton is an internationally renowned, award winning artist, designer and illustrator. Specialising in both painting and digital art, she creates colourful and elaborate artwork portraying scenes of a vibrant Utopia full of beauty, energy and creation. Her work is inspired by her love of street art, tattoo design and nature; and her travels to exotic locations around the world. Her contemporary, urban approach to traditional Eastern imagery draws a fine line between Contemporary and Traditional; between Street Art and Fine Art; and between the East and West.

Ellen StapletonAn interview with internationally renowned & award winning artist

How would you describe yourself? And your artwork? I believe in living life to the full, filling my life with the richness of art, music, culture, beauty, inspiration, diversity, travel, nature and exciting adventures. My artwork is an expression of this - a exciting explosion of colours, textures, passion, happiness and spontaneity inspired by imagery from my travels and my love for nature.

What drives you? My constant need to express everything that’s inside: my passion, my emotions, my inspiration, my creative ideas - also my obsession with colour, shapes patterns and textures.

What is your definition of art?To me art is about internalising and really connecting with my intuition and my emotions. It’s about disconnecting from the mind, letting go of all the baggage, the issues, the stress from every day life and connecting to something that is much more meaningful, more exciting and more fulfilling. My art is a way for me to express my inner most feelings and emotions in a way that words can’t do. It’s definitely a very spiritual thing for me.

SOURCE: Biennale by Maurizio Bortolotti .And VB. Duran p. 009

“To me art is about internalising and really connecting with my intuition and my emotions.”

An interview with internationally renowned & award winning artist

p. 010

“I find all aspects of life make a big difference in the creation process.”

Where do you get your inspiration? I love both traditional and contemporary art from different cultures all around the world: Tibetan, Indian, Japanese, Islamic, Mexican, South American, Indonesian, Scandinavia. I also love tattoo art, street art, fashion design, textile design, patterns in nature. There are also many amazing artists, illustrators and designers working today. Inspiration is everywhere!!

How do you deal with artist’s block? I don’t actually get artists block! It’s very important to me to make a conscious effort to always stay inspired then whenever I do paint the inspiration flows very freely and easily. I am constantly discovering all the little triggers that inspire me so if I’m feeling down and I need quick bursts of inspiration I turn to them… whether it be a particular visual artist, a song, a inspiring film clip, a movie, a inspirational speaker, healthy foods, spending time in nature, a good night sleep, exercise, hanging out with friends, travel, breaking the routine. I find all aspects of life make a big difference in the creation process. The more inspired I am in my life the more inspired I am in the studio.

Where do you see your art going in ten years?I’ve been doing this now for 6 years full time. It’s so exciting to see what happens over the years and what amazing opportunities life throws at you when you are committed and living your passion! So in 10 years from now who knows! I want to keep traveling the world creating the best art I possibly can, working on exciting global art projects, collaborating with awesome people and hopefully be amazed at where this journey takes me!

What you have going on right now?There is always so much going on! Right now I’m working on some commissions: giant colouring in art, a t-shirt design, a surfboard. I’m also redesigning my website, planning some more exciting international art adventures and most importantly spending time in the studio creating some new paintings!

Can you tell us what your ‘Before I Die’ is?Before I die I want to push my creativity, my visions and my skills as far as possible. I want to create an amazing body of work, create art that makes me feel inspired, excited and fulfilled. I

SOURCE: Biennale & VB. Duran p. 011

“I want to push my creativity, my visions and my skills as far as possible.”

believe in ‘being the change’ so hopefully along the way I can inspire others to also share their own unique gifts with the world, whether it’s art, music, dance, fashion, science, conservation, teachers, parents, health workers…. (Yes we all have our own unique skills to share!) If we are all living and sharing our passions and then this world would be a pretty special place!

Best commissioned piece ever done by you? I created artwork for a giant billboard in New Orleans. It was a pop up exhibition with 20 artists from around the world. Our billboards flanked the famous Mardi Gras Parade route. That was pretty exciting!

Best exhibition ever participated in…? My favourite ever exhibition was The Barcelona Showcase Exhibition run by the amazing ‘Global Art Agency’, held in Antoni Gaudi’s architectural masterpiece Casa Batllo.

Greatest achievements so far…?Winning the award for ‘Best Artist’ at the 2012 Barcelona Showcase International Exhibition from a selection of over 100 amazing artists from all around the world. Also I think the biggest achievement of any artist is simply to just keep going on being a artist. It’s definitely not an easy road and it takes a lots of courage, strength and overcoming obstacles to continue to pursue your passion. So in my eyes any artist that continues to live their passion, sticking to their creative vision, and creating art that they love is already a success.

Would love to exhibit my work in…? Awesome unique locations around the world - whether it be great galleries, exciting venues or amazing public spaces. I’m also hoping to soon start creating large scale art for music festivals.

Website: www.ellenstapletonart.com Twitter: https://twitter.com/ellen_stapleton Facebook: www.facebook.com/ellensart

p. 012

Faking It ~ Manipulated Photography Before PhotoshopWhile digital photography and image-editing software have brought about an increased awareness of the degree to which camera images can be manipulated, the practice of doctoring photographs has existed since the medium was invented. Check this out – Manipulated Photography before Photoshop:

Via: http://anthonylukephotography.blogspot.co.uk

from the

BLOGwww.condignart.com

Tokyo style Art with colourful stitches telling to ‘keep ya head up’Tokyo based textile artist Mana Morimoto creates these charming embroidered art photographs. “Embroidered Slick Rick. It’s not a chain stitch. I call this a bling bling stitch.”

Via: http://manamorimoto.tumblr.com

from the

BLOGfrom thewww.condignart.com www.condignart.com

p. 013

p. 014

WHAT SELLS ART?Source: Philip Hook

Art News

Last year a version of Edvard Munch’s The Scream fetched $120m (£74m) at auction; in 24 hours last week, a War-hol made $105m (£65m) and a Bacon portrait of Freud reached $143m (£89m). To the outside world, the pricing of art is a mystery. Why does one work sell for £10,000, another for £1m, and yet another for £100m?

Obviously, who paints the picture is important. Artists are brands that can go in and out of fashion. As recently as 10 years ago, the highest auction price for Francis Bacon stood at $8.5m. The record $143m that was paid last week is a measure of a shift in taste: whereas 40 years ago the highest prices were achieved by old masters, now huge glamour and demand is focused on modern and contem-porary art. It also reflects the greater availability of top-quality modern works than of top-quality old masters, which are increasingly rare.

There are certain eternals who will always be valuable. It is hard to imagine art history ever downgrading the impor-tance of Rembrandt or Rubens, Leonardo or Raphael, Pi-casso or Matisse. But in recent years artists such as the su-rrealists and the German expressionists have grown more expensive as their importance in the history of art has been reassessed. Similarly, if an artist has just featured in a major exhibition at the Tate, for example, then that kind of high-profile exposure can also create a spike in their pri-ces.Another factor that enhances an artist’s value is what I call “positive romantic baggage”. There is a back-story to artists’ lives that affects our appreciation of them and the works they produce. Quite apart from the importance to art history of Van Gogh and his significance as the origi-nator of expressionism, there is a tragic romance to his life that enhances his value to the collector, emotionally and financially.

Other commercial positives in an artist’s life story include unhappy love affairs, close attachment to specific easy-on-the-eye “muses”, madness (but not illness, which buyers subliminally associate with a fall-off in quality), rebellious behaviour and even spells in jail. Dying young is some-

times not a bad career move, either. Munch, Bacon and Warhol all had colourful private lives that play into their myth, and therefore enhance the price that their best work realises.

Similarly, some periods of an artist’s career are more desi-rable than others. Late Van Gogh is more expensive than his early work. A Renoir from the 1870s will be worth more than a late one. Any Picasso is desirable, but one from the early 1930s particularly so.

What the market also prizes is high recognisability. You want the Monet you have just splashed out on to be imme-diately obvious as a Monet to visitors to your living room. Thus a painting showing waterlilies or Rouen Cathedral will be more expensive than a less typical portrait or still life by the artist. Munch’s The Scream has this in abun-dance. Most people will recognise the Bacon portrait or Warhol’s Silver Car Crash when they come into the ow-ners’ living rooms.

In traditional painting, some subjects are definitely more desirable than others: portraits of pretty women will always sell better than those of gloomy old men; sunny landscapes are more expensive than dark ones, and calm seas preferable to rough ones. Animals and birds are ge-nerally more expensive if you can shoot them, but they should preferably be depicted alive because in general death in a painting is bad news. Nudes, provided the mo-dels are beautiful, sell well (but they can be difficult for some Islamic buyers, an important consideration in to-day’s market). Biblical subjects are out of fashion. But a major work by a great master has the capacity to transcend all rules. In 2002 Sotheby’s sold a Rubens, The Massacre of the Innocents. As a scene of mass infanticide it was not immediately promising material, but it made £49m.

Condition is a factor. Paintings suffer and age over time, some more than others. Like human beings, some are subjected to cosmetic surgery. Where this has been too extensive, the price of the painting will be affected. The history of the painting itself can also make a difference to its value: whose collection it has been in, where it has been exhibited, which dealers have handled it. A Cézanne from the great Paul Mellon collection is worth more than the same painting with an unspecified provenance. Converse-ly, the name of Field Marshal Göring in the list of previous owners of your picture – even if he came by it legally – isn’t necessarily a bonus.

The final question is the most important, and the most elusive. Has the painting got “wallpower”, the visceral im-pact that makes people want to own it? This is a matter of factors such as composition, colour (blue and red tend to be good news) and emotional power. Surpassing artistic quality (difficult to define, but you know it when you see it) is always reflected positively in the price a work of art realises, sometimes to an astonishing extent.

p. 015

THE GODFATHEROF STREET ART, RICHARD HAMBLETON

Before Banksy even picked up his first can of spray paint, Richard Hambleton (aka “the godfather of street art”) was putting his shadowmen all over the city. Each shadowy figure was created out of black paint and a brush, and in the end they landed on hundreds of buildings around town. Location was important to Hambleton, as he wanted the figures to surprise unsuspecting pedestrians (he says that once he was even scared by his own shadowman). He seemed to enjoy the element of surprise even when he started what he called his “public art” in the 1970s.

Prior to his shadowman series, he had been making chalk outlines on the streets, which Vandalblog noted a few years ago “would get picked up by the local media, as residents in suburban and generally wealthy communities mildly panicked about the ‘crime scene.’” He had done over 600 by the end of the series.

Source: gothamist.com

p. 016

THE BIGGEST UNSOLVED ART HEIST AND THE

DETECTIVE WHO CAME CLOSE TO CRACKING IT

Art News

At 1:24 a.m. on March 18, 1990, two policemen de-manded to be buzzed in by the guard at the Isabella Stewart Gardner Museum in Boston. At least, they looked like policemen. Once inside the Venetian-pa-lazzo-style building, the men ordered the guard to step away from the emergency buzzer, his only link to the outside world. They handcuffed him and ano-ther guard and tied them up in the basement. For the next 81 minutes, the thieves raided the museum’s treasure-filled galleries. Then they loaded up a vehi-cle waiting outside and disappeared.

Later that morning, the day guard arrived for his shift and discovered spaces on the walls where pain-tings should have been. Rembrandt’s “Storm on the Sea of Galilee,” Vermeer’s “The Concert,” Manet’s “Chez Tortoni,” and five works by Edgar Degas were missing. In some places, empty frames were still hanging, the priceless works crudely sliced out.

It was an appalling attack on a beloved museum, the personal collection of an eccentric heiress who han-dpicked the works on travels through Europe in the 1890s. The crime sparked a sweeping multinational investigation by the museum, the FBI, and nume-rous private parties. To date, the Gardner heist is the largest property theft in U.S. history—experts have

assessed the current value of the stolen art at more than $600 million. Twenty-three years later, the case remains unsolved.

In fact, not a single painting has been recovered. But this past March, the FBI signaled that it was close to solving the mystery. Officials announced that inves-tigations had uncovered new information about the thieves and the East Coast organized crime syndi-cates to which they belonged. The art world buzzed over the news, yet one man doubted what he heard.

Bob Wittman belongs to an elite society—the han-dful of government and private-sector professionals who track down art criminals and recover stolen work all over the world. Art theft is a $6 to $8 bi-llion annual industry, and it’s the fourth-largest cri-me worldwide, according to the FBI. As an agent on the FBI’s Art Crime Team, Wittman spent two years working undercover on the Gardner case before he retired. He believes he knows where the art is. And right now, he says, the FBI is “barking up the wrong tree.”

Source:mentalfloss.com / Tim Murphy

p. 017

I N T E R N A T I O N A L C O N T E M P O R A R Y A R T S H O W

7 - 8 - 9 F E B R U A RY 2 0 1 4 · O X F O R D T O W N H A L L

FRIDAY 7thFEBRUARY

SATURDAY 8thFEBRUARY

SUNDAY 9thFEBRUARY

PRIVATE VIEW& VERNISSAGE

18.00 h - 21.00 h

FREE ENTRYART FAIR

11.00 h - 17.00 h

FREE ENTRYART FAIR

11.00 h - 15.00 h

www.oxfordinternationalartfair.com

p. 018

w

A TRIBUTE TO

ALPHONSE MUCHA

When German troops moved into Czechoslovakia during the spring of 1939, Mucha was among the

first persons to be arrested by the Gestapo.

Alphonse Maria Mucha was born in the town of Ivančice, Moravia (Czech Republic) the 24th July 1860. Although his singing abilities allowed him to continue his education through high school in the Moravian capital of Brno, drawing had been his main hobby sin-ce childhood. He worked at decorative painting jobs in Moravia, mostly pain-ting theatrical scenery. In 1879, he re-located to Vienna to work for a major Viennese theatrical design company, while informally augmenting his ar-tistic education. When a fire destroyed his employer’s business during 1881 he returned to Moravia, to do freelance decorative and portrait painting.

X

Count Karl Khuen of Mikulov hired Mucha to decorate Hrušovany Em-mahof Castle with murals, and was impressed enough that he agreed to sponsor Mucha’s formal training at the Munich Academy of Fine Arts.

Mucha moved to Paris in 1887, and con-tinued his studies at Académie Julian and Académie Colarossi. In addition to his studies, he worked at producing magazine and advertising illustrations. About Christmas 1894, Mucha happe-ned to go into a print shop where the-re was a sudden and unexpected need for a new advertising poster for a play featuring Sarah Bernhardt, the most famous actress in Paris, at the Théâ-tre de la Renaissance on the Boulevard Saint-Martin. Mucha volunteered to produce a lithographed poster within two weeks, and on 1 January 1895, the advertisement for the play Gismonda by Victorien Sardou was posted in the city, where it attracted much attention.Bernhardt was so satisfied with the suc-cess of this first poster that she began a six-year contract with Mucha.

Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and thea-tre sets in what was termed initially The Mucha Style but became known as Art Nouveau (French for “new art”).

p. 019

Mucha’s works frequently featured beautiful young women in flowing, va-guely Neoclassical-looking robes, of-ten surrounded by lush flowers which sometimes formed halos behind their heads. In contrast with contemporary poster makers he used pale pastel co-lors.Mucha’s style was given interna-tional exposure by the 1900 Universal Exhibition in Paris, of which Mucha said, “I think [the Exposition Univer-selle] made some contribution toward bringing aesthetic values into arts and crafts.” He decorated the Bosnia and Herzegovina Pavilion and collaborated with decorating the Austrian Pavilion.

His Art Nouveau style was often imi-tated. The Art Nouveau style however, was one that Mucha attempted to di-sassociate himself from throughout his life; he always insisted that rather than maintaining any fashionable stylistic form, his paintings were entirely a pro-duct of himself and Czech art. He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained by his commercial

art, when he most wanted to concen-trate on more artistic projects.

Mucha spent many years working on what he considered his life’s fine art masterpiece, The Slav Epic (Slovanská epopej), a series of twenty huge pain-tings depicting the history of the Czech and the Slavic people in general, bes-towed to the city of Prague in 1928. He had wanted to complete a series such as this, a celebration of Slavic history, sin-ce he was young. From 1963 until 2012 the series was on display in the chateau in Moravský Krumlov the South Mora-vian Region in the Czech Republic.

Since 2012 the series has been on dis-play at the National Gallery’s Veletržní Palace.

The rising tide of fascism during the late 1930s resulted in Mucha’s works, as well as his Slavic nationalism, being denoun-ced in the press as ‘reactionary’. When German troops moved into Czechoslo-vakia during the spring of 1939, Mucha was among the first persons to be arres-ted by the Gestapo.

During his interrogation, the aging artist became ill with pneumonia. Though released eventually, he may have been weakened by this event. He died in Prague on 14 July 1939,

due to lung infection, and was interred there in the Vyšehrad cemetery.Source: wikipaintings

p. 020

Comprising a list of the world’s richest living artists is hard. Why? Because artists don’t really want you to know how much they’re worth. Think about it. At a gallery, set prices are only revealed if buyer interest is shown. When

a piece goes up for auction, you get a feel for the artist’s value via their estimates, but only when the hammer goes down can you even fathom how much an artist and their works are actually worth. Numbers big and small are recorded, but what about all the other transactions? What about the private commissions, corporate sales,

trading for favors, or straight up cash money transactions on the DL?

Unlike the Sunday Times Rich List which is comprised of estimates measured from identifiable wealth that in-cludes land, property, art and shares in publicly quoted companies, this list focuses on artists and guesstimates

made on how much they earn from actual art sales.

Although John Baldessari, Ed Ruscha, Kaws, Jose Parla, Barry McGee, Fernando Botero, Claes Oldenburg, Banksy, Nan Goldin, and Gilbert & George make lots of dough, it’s not enough to get on this list. Not even super polymath Bruce Nauman (who’s currently #1 on the Artfacts.net list, with Damien Hirst is #29), Julian Schnabel (having lots of real estate and making films doesn’t count), Brice Marden (he owns a huge chunk of SoHo and other property), Sean Scully (like Johns, Marden, and recently deceased Freud, Scully is one of the very few

living artists to have a retrospective at the MOMA and MET), and Frank Stella (who can command almost a cool $3 million for certain works) made it.

Source: Complex.com + Joy Yoon

1. Damien HirstPainter/SculptorEstimated Worth: $1 Billion

2. Jeff KoonsSculptorEstimated Worth: $500 Million

THE 10 RICHEST LIVING ARTISTS

p. 020

p. 021

7. Anish KapoorSculptorEstimated Worth: $85 Million

10. David Hockney Painter/PhotographerEstimated Worth: $40 Million

3. Jasper JohnsPainterEstimated Worth: $300 Million

5. Andre VicariWelsh PainterEstimated Worth: $142 Million

8. Antony GormleySculptorEstimated Worth: $50 Million

9. Gerhard RichterVisual ArtistEstimated Worth: $40 Million

4. David ChoeMuralist/Graffiti ArtistEstimated Worth: $200 Million

6. Takashi MurakamiJapanese Superflat ArtistEstimated Worth: $100 Million

THE 10 RICHEST LIVING ARTISTS

p. 021

p. 018

RecyclArt" R e cyc l i n g i s t h e f u t u r e , o u r m o t h e r e a rt h h av e

l i m i t e d r e s o u r c e s , w e h av e t o s e e t h i n g s i n a d i f f e r e n t way a n d l e a r n h o w t o R E u s e , R E cyc l e a n d R E d u c e o u r m at e r i a ls a n d p r o d u c t s c o n s u m p t i o n i n

o r d e r t o d e c r e as e o u r f o o t p r i n t ! "- RecyclArt.org

http://cedricverdure.blogspot.fr/ http://www.artmajeur.com/fr/artist/jeanmarclalondrelle/collec-tion/peintures-sur-bois-recycled-skateboards-art/1425325

Sculpture made with wire mesh, paper, and natural leaves,

in the technic of vegetal paper.by Cedric Verdure Peinture acrylique sur

planche de skate redécoupée.By Jim Lalondrelle

p. 022

p. 023

www.oxfordinternationalartfair.com

CondignArtWORLD CONTEMPORARY ART

I N T E R N A T I O N A L C O N T E M P O R A R Y A R T S H O W

7 - 8 - 9 F E B R U A RY 2 0 1 4 · O X F O R D T O W N H A L L

LUZ MINERVA JEWELS by Laura Rosich

SPEED OF LIGHT by Bertrand, Bausch & Bontempi

WWW.LUZMINERVA.COM

A Bertrand, Bausch & Bontempi piece is not a luminaire: is a special object that irradiates light. Three of them also produces sounds.Each Bertrand, Bausch & Bontemp is a homage to an object or mechanism, generally with decades who having worked hard all life, were abandoned in a warehouse, an attic, in solitude and obliviousness.

See them all on Facebook: bertrandbauschbontempi

SPEED OF LIGHT by Bertrand, Bausch & Bontempi

Una familia con raices.

El C

ava

se d

isfr

uta

con

mod

erac

ión

w w w . j u v e y c a m p s . c o m

“Tengogustos simples.

Me satifacelo mejor”

O S C A R W I L D E

Juvé&

Rosé

ART GALLERY

N

ARTEVENT

CALENDAR

p. 026

DECEMBER 2013

02-08 DecemberMIAMI SCOPE

MIAMI // UNITED STATEShttp://scope-art.com

03-08 DecemberART MIAMI

MIAMI // UNITED STATESwww.art-miami.com

03-08 DecemberRED DOT MIAMI BEACH

MIAMI // UNITED STATESwww.reddotfair.com

Until 03 DecemberARTGENT 2013

GHENT // BELGIUMwww.artgent.be

04-08 DecemberAQUA ART MIAMI

MIAMI // UNITED STATESwww.aquaartmiami.com

04-08 DecemberINK ART FAIR

MIAMI // UNITED STATESwww.inkartfair.com

05-08 DecemberART BASEL MIAMI BEACHMIAMI // UNITED STATES

www.artbasel.com

06-08 DecemberPOOL ART FAIR MIAMI

MIAMI // UNITED STATEShttp://www.poolartfair.com

JUNCTION ART GALLERY is a con-temporary craft and fine art gal-lery established to exhibit the best of British-based craft and fine art. Disciplines include jewellery, ce-ramics, painting, printmaking, glass and sculpture. The gallery has a programme of 5 exhibitions a year which focus both on established and emerging artists. They will be exhib-iting at the Oxford International Art Fair 2014.

Oxfordshire, Woodstock.www.junctionartgallery.co.uk

X

c· F E AT U R E D ·

p. 025

ARTIST

p. 027

JANUARY 2014

15-19 JanuaryLONDON ART FAIR

LONDON// UKhttp://www.londonartfair.co.uk

10-12 JanuaryKÜNSTLERMESSE DRESDEN

DRESDEN // GERMANYhttp://www.kuenstlermesse-dresden.de

15-19 JanuaryLA ART SHOW

LA // UNITED STATEShttp://www.laartshow.com/

16-19 JanuaryART STAGE SINGAPORE 2014

SINGAPOREhttp://www.artstagesingapore.com

17-20 JanuaryUNPAINTED

MÜNCHEN // GERMANYhttp://www.unpainted.net

24-26 JanuarySAN FRANCISCO FINE PRINT FAIR

SAN FRANCISCO // UNITED STATEShttp://www.sanfrancisco-fineprintfair.com

24-27 JanuaryARTEFIERA

BOLOGNE // ITALYhttp://www.artefiera.bolognafiere.it

24-27 JanuaryART PALM BEACH

LA // UNITED STATEShttp://www.artpalmbeach.com/

30 Jan - 02 FebruaryINDIA ART FAIR

NEW DEHLI // INDIAhttp://www.indiaartfair.in

07-09 FebruaryOXFORD INTERNATIONAL ART FAIR

OXFORD // UK www.oxfordinternationalartfair.com

GIANNI CORDA; Architect and pas-sionate artist illustrator and painter,

exhibiting at Barcelona Showcase.His style is rather unique and that is

what Gianni tries to achieve over and over again. With his favourite artist being Leonardo Da Vince, Italian Re-

naissance polymath: painter, sculptor, architect, His genius, perhaps more

than that of any other figure, epito-mized the Renaissance humanist ideal.

And so is Gianni (from Sardinia Italy) also drawn to the humanist ideal of

the Renaissance.

Sardinia, Italy.www.facebook.com/gianni.corda.5

X

c· F E AT U R E D ·

CondignArtWORLD CONTEMPORARY ART

SUBSCRIBE FOR FREE!

ADVERTISE FROM ONLY £ 39.

www.condignart.com

Win a featured interview in the next

Condign Art Magazine issue #05

Enter online:http://condignart.com/2013/12/14/

win-a-featured-interview-in-the-condig-n-art-magazine-issue-05/

¿Quieres más información o asesoramiento personal?Visítanos en www.facebook.com/cobra.wmo o consulta nuestra página web www.cobra.royaltalens.com

¡Novedad!Cobra Studycolor al óleo miscible con agua