It's amazing that once in a while I get complaints from people for
using their images on my blog, even when I have provided proper
credits. I know these people are right from a legal point of view, but
it does seem silly.

This is the last post edited on request:
http://artboobs.posterous.com/myla-dalbesio-young-money

Hello,

It has come to our attention that you are using photos belonging to
Myla Dalbesio without a proper usage agreement [..]. Please remove
immediately.

Thank you,
Myla DalBesio Studio

"These images were not intentional. I did not set out to make this body
of work. These photographs are an organic response to an experience
that is at the same time the most unique and the most universal of
experiences: the birth of a child. The photographs that resulted from
that response are simple pictures of my family made during the first
two years of my son's life. At the same time that I was experiencing
the intense joy of new life, my father was diagnosed with lung cancer.
It's fair to say that I found myself reflecting on obvious themes of
life and death. Through my son, my role as the son took on new meaning
and my senses were hypertuned to the evidence of my own life passing.
Then these photographs just sort of happened. They are a record of
love and a reflection on the seasonal nature of life."

Christopher Anderson, January 2012

http://www.magnumgallery.fr/

Technicolor Dare (2011)
Derek Gores
United States
Collage on canvas
24 x 24"
61 x 61 cm
$2,400

Ever More (2011)
Derek Gores
United States
Collage on canvas
48 x 48"
122 x 122 cm
$5,900

Liberate & Fascinate (2011)
Derek Gores
United States
Collage on canvas
48 x 48"
122 x 122 cm
$5,900

Born in New York, 1971.

In his popular collage portraits, Derek Gores recycles magazines,
labels, and assorted found analog and digital materials to create the
works on canvas. The series showcases Gores' contrasting interests in
the living beauty of the figure, the mechanically angular and abstract
design aesthetics of fashion, and a fearless sense of play.

"I like my pictures to barely come together with teasing little
details. Sort of like how the mind can't help but wander, even when
trying to focus on one thing. In the collages, some of the little bits
I use are deliberate, but in most I'm trusting randomness to help
build an end result more interesting than I could have planned. One
friend calls it a 'Zen Narrative.' "

His subjects are simply figures and objects in a space, influenced by
heroes Gustav Klimt, Egon Schiele, Franz Kline, Rube Goldberg, Max
Ernst, and, "those great old long-exposure photos of Abraham Lincoln
where you can feel the whole minute inside each image. I love that
buzzing stillness. I do reference a classic beauty, but made of raw
and geometric and un-designed parts, so I feel it's a contemporary
beauty too. I'm not interested in heavy, conscious concepts- I make
something simple and let the elements combine in the head, reacting
with each history the viewer brings to the table. When it goes well, I
hope to create a real experience, instead of just a picture of an
experience. But that sounds a little too huge... really I'm searching
for that feeling of having the eyes of a kid, where everything is
new."

These works and text from:
http://www.thinkspacegallery.com/bio.php?artist=Derek%A0Gores

http://www.derekgores.com/

John Bratby RA (1928-1992)
The Belly Dancer at The Aphrodite Taverna Hastings
pencil and coloured chalks signed dated December 1990 and inscribed
with title lower right
68.5 x 44.5 cm (27 x 17 1/2 in)
Estimate: 200-300

John Bratby RA (1928-1992)
The Pirelli Calendar from March 4 1990
watercolour pencil and gouache signed inscribed with title further
inscribed and dated 26 March 1990 upper right
51 x 35.5 cm (20 x 14 in)

John Bratby RA (1926-1992)
Jean on sofa (with teddy bear)
oil on board
99 x 73.5 cm (39 x 29 in)
Collection: Eric Estorick
Exhibited: Beaux Arts Gallery 1954
Estimate: 6000-8000

At auction: http://www.hollowaysauctioneers.co.uk/auctions.html#cattop

Dorothea Tanning's "Birthday," 1942, oil on canvas
Photo © The Philadelphia Museum of Art/Art Resource, NY

View 23_84640010.jpg

The photos have been replaced by links, on request. 

Hello,

It has come to our attention that you are using photos belonging to Myla Dalbesio without a proper usage agreement, as shown here: http://artboobs.posterous.com/myla-dalbesio-young-money. Please remove immediately.

Thank you,

Myla DalBesio Studio

Model-turned multi-disciplinary artist Myla DalBesio [..] turned heads
when she blurred the lines between performance art and pornography
with her controversial Young Money piece at Ramis Barquet Gallery last
summer. As part of the Glutton for Punishment show, a topless DalBesio
gyrated seductively on the floor, rolling around in dollar bills to
the tune of Lil’ Wayne’s Young Money, as an LED screen flashed
corresponding cash messages. Willing audience members were treated to
a lapdance by the artist, who poured champagne on herself and her
participants’ crotches. DalBesio said this act reversed the role of
subject-and-object, transforming the dancer into a figure of power.
For her finale, the artist incorporated Evangelical Christianity's
“faith healing”, thumbing the sign of the cross on participants’
foreheads. She says Young Money “confronts questions of our own
morality and desires, and what drives us to act on them. I’m often
aiming to expose people to parts of themselves that they may never
have acknowledged before.”

View  23_young-money-8_v2.jpg 

View  23_84680029_v2.jpg 

View  23_84670028.jpg 

Text: http://www.mutualart.com/OpenArticle/Performance-Art-Pushes-the-Envelope---bu...
Photos: http://www.myladalbesio.com/index.php?/performance/young-money/

Illustrations of mothers and their babies underwater are among works
of art displayed in a new exhibition of the work of Quentin Blake at
the Foundling Museum in Holborn, London. Included in the exhibition is
Quentin Blake's biggest project 'Mothers and Babies Underwater'
commissioned by the maternity unit of the Centre Hospitalier
Universitaire in Angers, France. Each of the 11 delivery suites will
be animated by drawings by Blake based on the theme of the mother
meeting her new baby.

http://www.telegraph.co.uk/culture/culturepicturegalleries/9010454/Quentin-Bl...

http://www.foundlingmuseum.org.uk/events/view/quentin-blake-as-large-as-life/

One of the "20 unique life-sized plaster human sculptures".

"This exhibition is a monumental installation made of two labyrinths.
The first is in the Cretan fashion with a one-way path leading to the
core where there is a video projection. The second is a deconstructed
labyrinth with a path through iron blocks with 20 unique life-sized
plaster human sculptures, each about 1.6 meters in height, positioned
along the way"

LONDON.- On January 11 the Corfu-based artist, Eva Caridi, opened her
first solo show in London, at Ambika P3, University of Westminster.
This exhibition is a monumental installation made of two labyrinths.
The first is in the Cretan fashion with a one-way path leading to the
core where there is a video projection. The second is a deconstructed
labyrinth with a path through iron blocks with 20 unique life-sized
plaster human sculptures, each about 1.6 meters in height, positioned
along the way.

The installation stages a representation of time as a human condition.
There are no dead ends, no illusions, but only constant walking ahead
in one direction. The visitor proceeds through the corridor surrounded
by iron walls, and sound flows from the labyrinth’s depths compelling
one to continue the journey. The path culminates in the artwork’s
core: a space in between walls that hosts a video installation
depicting females in their three stages of life: girl, woman and
elderly lady. During the course of our life we tend to lose
connections with the child part of ourselves and memories are locked
in the secret alleys of our soul.

The second room features a deconstructed labyrinth filled with nude
human sculptures frozen in multiple body positions. The artist says
that the plaster sculptures resemble the fragility of human nature
when it comes up against the impenetrable iron walls of the labyrinth,
which in this case symbolizes the world and reality that we live in .
Ms Caridi is intimately involved with her creations, and she tries to
establish a bond with the public. Plaster and iron are the means to a
sensorial experience and their molding quality makes into almost
living beings that speak to us.

Ms Caridi’s monumental interactive installation unwinds over a floor
surface of around 14,000 square feet, and the walking distance is
about 75 meters from the entrance to the central area. The walls are
about 2.4 meters high, and the labyrinth uses about 11 tons of steel.
It is made by S & W Limited, based in the Midlands, and will take
about five days to install.

“The labyrinth is used as a symbol to represent a threedimensional
feeling, to concretise feelings. It forces you into a pilgrimage, a
journey through time. People lose track of direction and of the
outside world, ascending towards a personal state of mind. Despite
feeling confused and lost, one finds the way to the end which is, in
fact, just the beginning. ” Eva Caridi

Eva Caridi is a Greek–English artist who lives and works between the
UK and the island of Corfu in Greece. She was educated and trained in
Paris where she graduated from the Academy Julienne. Since 1997, she
has exhibited her works in the art world’s most prominent cities –
Paris, New York, and San-Paolo. She has participated in and won awards
at prestigious shows such as the Cairo, Florence and Alexandria
Biennales.

http://www.artdaily.org/index.asp?int_sec=2&int_new=53012

Blindspot Gallery is proud to present “Memory and Fiction”, featuring
Wong Wo Bik, one of Hong Kong’s most accomplished photographers, as
well as one of a small number of female photographers active in the
territory. The retrospective exhibition will feature selected works of
Wong dated from the 1980s, including photographs of Hong Kong's
historical and notable landmarks, such as Lai Yuen Amusement Park and
the Eu family mansions that were now demolished, and the Main Building
of the University of Hong Kong.

Since the 1980s, Wong took all possibilities to photograph historical
architecture threatened by demolition in Hong Kong. “I paid particular
attention to landmarks or buildings that were not considered 'built
heritage', but carried historical significance or were once frequented
by locals. Because their demolition was inevitable, the only thing I
could do was to document them photographically. It was for me of
paramount importance to capsulate them in the photographic space1,”
Wong says. Yet Wong’s photographs of these architectures are not
merely documentary of history, they are also the artist’s subjective
narrative of her personal experiences at these sites, as well as
depiction of traces left behind by others.

Wong Wo Bik
Memory and Fiction
11 January - 4 February 2012
at Blindspot Gallery, Hong Kong

Opening Reception: Tuesday, 10 January 2012, 6:30 – 8:30pm
Artist will be present.

Blindspot Gallery
24-26A, Aberdeen Street, Central, Hong Kong
Tel.: +852 2517 6238
Opening hours: Tue - Sat, 11am - 7pm
Closed on public holidays

http://www.blindspotgallery.com