Die Jugend 1896Art Nouveau is an art movement that was very popular in the 1890’s up until the first years of the 20th Century. The term means ‘New Art’ in French and in other languages it is known as “Jugendstil” (Germany), “Sezessionstil” (Austria), “Modernismo” (Spain), and “Floreale” or “Liberty” in Italy. Art Nouveau has been applied to all of the decorative arts, architecture, painting and sculpture.

Art Nouveau was charged with an ideology to break the standards of the 19th Century Academic Art and to bring down the barriers between the fine arts and applied arts. It was a movement to combine all the arts in an attempt to create new art based on natural forms that could be mass-produced by the technologies of the industrial age. Additionally, the artist should be able to work on various different approaches from painting to metalwork and everything in between. 

A central element in Art Nouveau is the organic, plant-inspired motif which is often expressed with floral patterns and themes. Such themes are highly stylized with flowing curved forms. Other primary themes are birds, insects and femme fatales. The use of abstract lines and shapes as well as the lack of vivid shading is applied in order to eliminate the sense of depth thus most Art Nouveau paintings are presented in a two-dimensional manner.

Many Art Nouveau artifacts such asArt Nouveau Champenois vases, bowls, plates, lights, various furniture etc are beautiful objects but not necessarily very practical to use. During the first years of the movement, advertising posters were introduced into art providing a new space for the exhibition of this new art. Additionally, architects like Antoni Gaudí (although he has his own distinct style) have stretched the limits of design into astonishing and magnificent forms.

Art Nouveau remains an extraordinary form of art until today.Countless artifacts from the period 1890-1914 are constantly reproduced and many contemporary artists identify themselves as Art Nouveau artist. It is indeed the boldness, the sense of adventure and the desire to revolt that makes Art Nouveau such a pleasant trip for the senses!
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PAD Paris loses its vetting committee after opening of 20th edition this week

PAD Paris 2016
PAD, the Paris art and design fair (until 26 March), has lost its vetting committee, the panel of experts that screens all the works offered by dealers, with a right to veto any objects they find to be questionable. Soon after the opening of the fairs 20th edition on Wednesday, the Centre National de l'Expertise (CNE), which was in charge of PADs vetting, decided to withdraw. The circumstances were such [that we] could no longer perform a proper job, its chairman Frdric Castaing told The Art Newspaper.

It was a difficult decision, but one we took unanimously; our trade has a professional and ethical position to stand for. All those who volunteered for the mission thought they were being treated disrespectfully, Castaing added. The time given to screen the objects before the opening has been dramatically reduced, even though experts had doubts about certain objects. Some booths could not be controlled at all. So we thought it was better to stop than take on responsibility for something over which we had no control.

Although Castaing said that some works at this years fair appeared to be problematic, he declined to give specifics. This situation is not new, he added. Over the years, the material conditions have deteriorated. We decided to stop vetting PAD London before the last edition for the same reasons.

Apparently, tensions erupted when the fairs organisers excluded two experts from the vetting committee, for motives that have nothing to do with professional and ethical standards according to CNE.

Founded in 1997 by Patrick Perrin, the son of one of the most prestigious antiques dealers in Paris, PAD is held in the Tuileries Gardens, near the Louvre. It features some 67 exhibitors presenting a mix of design, sculpture, jewellery, tribal and modern art. PAD London, held in Berkeley Square each October, at the same time as Frieze, had its 10th edition last year. Perrin did not reply to calls and a spokeswoman for the fair said she could not comment.

Tate Modern opens first 'live' exhibition with mist, plants and a rave

The Japanese artist Fujiko Nakaya with her new commission London Fog (2017) outside the Tate Modern (Photo: © Tate Photography)
The veteran Japanese artist Fujiko Nakaya has created a site-specific work made of mist as the centrepiece of BMW Tate Live Exhibition: Ten Days Six Nights (24 March-2 April)the Tate Moderns first ever live exhibition, says the museum director Frances Morris.

Nakayas worktitled London Fog (2017) and made in collaboration with Ryuichi Sakamoto and Shiro Takataniis on show outside the museums new Switch House building. The exhibition brings together old friends with new friends, Morris says. Nakaya, who has lifetime of collaboration behind herincluding with the US artist Robert Rauschenberg whose major survey is also on show at the museumwas the starting point for the exhibition, which combines performances, film, installations, music and dance.

There will be a continuously changing programme throughout the duration of the exhibition, says the shows co-curator Catherine Wood. The exhibition, which is primarily housed in the museums subterranean Tanks galleries, is the first in a series of annual live exhibitions that will take place over the next four years, Woods says.  

The exhibition includes works by around 20 artists, ranging from a rave dance music piece by the Italian artist and musician Lorenzo Senni to an immersive installation filled with plants by the Dominican artist Isabel Lewis, which will host several events including Angolan kizomba dancing, discussions and food and drink experiences. There are also interactive works by the US artists Wu Tsang and Fred Molten, and CAMP, a collaborative studio group from Mumbai. One-off live screenings and performances will also take place, including a piece by the Berlin-based choreographer and dancer Ligia Lewis in the Tanks as well as a dance performance by Min Tanaka within Nakayas mist and soundscape installation outside. 

Although Tate Modern has hosted live performances beforeand for two days in 2015 the French choreographer Boris Charmatz turned the whole gallery into the Muse de la dansethe group exhibition is the first in a dedicated programme focusing on live works, many by artists who work in media that is not usually experienced in a traditional museum setting.  One of the aims of the exhibition is also  to welcome unplaceable artists, says the exhibitions co-curator Andrea Lissoni. The BMW Tate Live programme is sponsored by the BMW Group. 

Controversy over Emmett Till painting at Whitney Biennial goes beyond art world

Dana Schutz's Open Casket (2016) is on show at the Whitney Biennial (image courtesy of the artist and Petzel, New York)
A painting in New Yorks Whitney Biennial, Open Casket by the artist Dana Schutzdepicting the body of Emmett Till, an African American teenager who was lynched in 1955has raised a storm of controversy that has reached far beyond the art world. Critics of the work say a white artist has no business appropriating an image of brutal violence against black youth, and have called for the painting to be destroyed, while supporters have defended Schutzs right to free speech. 

Till was a 14-year-old boy from Chicago who was visiting family in Mississippi. After a white woman accused him of flirting with hera story she recanted decades laterwas kidnapped by the womans husband and another man, beaten and shot. When his body was recovered and returned to his mother in Chicago, she insisted on an open casket funeral, saying: Let the people see what Ive seen. A photograph of Tills disfigured face was published in The Chicago Defender and Jet magazine, and became a rallying point for the Civil Rights Movement. Schutzs painting takes this photograph as its inspiration, but does not exactly recreate it. 

The controversy over the work started with an open letter by the artist Hannah Black, to the Whitney Biennials curators Mia Locks and Christopher Y. Lew. The painting should not be acceptable to anyone who cares or pretends to care about black people, because it is not acceptable for a white person to transmute black suffering into profit and fun, though the practice has been normalized for a long time, Black wrote. She added that the painting should be destroyed and not entered into any market or museum. The letter was signed by more than 25 artists and writers of colour, and protesters have stood in front of the painting for hours at a time to block visitors from viewing the work. 

Schutz told the New York Times that she never intends to sell the work, and that as a mother, she found a connection to the image. I dont know what it is like to be black in America but I do know what it is like to be a mother, Schutz said in a statement. Emmett was Mamie Tills only son. The thought of anything happening to your child is beyond comprehension. Their pain is your pain. My engagement with this image was through empathy with his mother. 

Reactions on either side of the debate have been strong. Writing in the New Republic, Josephine Livingstone and Lovia Gyarkye said: For a white woman to paint Emmett Tills mutilated face communicates not only a tone-deafness toward the history of his murder, but an ignorance of the history of white womens speech in that murderthe way it cancelled out Tills own expression, with lethal effect. Posting on Instagram, alongside an image of Artemisia Gentileschis Judith Slaying Holofernes, the artist Kara Walker said: The history of painting is full of graphic violence and narratives that dont necessarily belong to the artists own life a lot of art often lasts longer than the controversies that greet it. I say this as a shout to every artist and artwork that gives rise to vocal outrage. Perhaps it too gives rise to deeper inquiries and better art. It can only do this when it is seen.

The situation took a strange twist on Thursday, when an email, purportedly by Schutz saying shes decided to remove the painting from the exhibition, made the media rounds. The Whitney, however, confirmed the letter was a fake.

The painting was even discussed on the talk show The View, where co-host Whoopi Goldberg, who has been attached as an executive producer to a film about Till, said: In the real world, everybody needs everybody to get our stories out. Its just the way it is. And no artist should be told, your arts not ok. 

Three to see: London

A still from Wu Tsang's Fred Moten in Girl Talk (2015), who is one of the participating artists in Tate Modern's first ever live exhibition (Image courtesy of the artist, Galerie Isabella Bortolozzi, Berlin; © the artist)
Tate Moderns first ever live exhibition will unite old friends with new friends, says the museums director Frances Morris. BMW Tate Live Exhibition: Ten Days, Six Nights (24 March-2 April) opens today and, as the title suggests, will be on for only ten days. One of the old friends Morris is referring to is the veteran Japanese artist Fujiko Nakaya, who has worked with Ryuichi  Sakamoto and Shiro Takatani to produce a new commission made of mist installed outside the museum, which was already attracting excited school children during yesterdays press view. The new friends are a number of multidisciplinary artists who have created works including installations, performances, film, music and choreography that are installed or will take place in the museums subterranean Tanks galleries. From the Dominican artist Isabel Lewiss immersive installation featuring hanging plants, dancers, scents, food and drink to live sets celebrating rave culture by the Italian artist and musician Lorenzo Senni, the show looks to be a lively affair. 

The Barbicans latest exhibition (until 25 June) is a carefully selected survey of domestic architecture in Japan from the end of the Second World War, when the countrys architects sought to rebuild its razed cities, to the present day. The Japanese House: Architecture and Life after 1945 presents drawings, photographs and models of residences designed by the great and good of Japanese architecture, including Tadao Ando and Toyo It. Visitors can tour two full-scale replicas, including Moriyama House, the Tokyo home of a 21st century-urban hermit designed by SANNA co-founder Ryue Nishizawa that consists of ten separate buildings with heights ranging from one to three stories.   

Simon Ling is known for making richly executed paintings that depict his ordinary direct surroundings: corners of shabby buildings, details of inconsequential shop fronts, milk crates, childrens plastic toys or patches of waste land. These are often painted en plein air, with Ling considering the very act of perception itself, and all that this entails, as much the subject as the object or scene in front of him. In the five recent paintings at Greengrassi (until 19 April) it is a pile of logs in the yard outside Lings studio that is subjected to his very particular form of intense, emotionally engaged scrutiny. The longer you look at these stacks, the more you notice how often subtle re-arrangements and shifts in viewpoint mean that recognisable forms recur, but in different guises. In this compelling new body of work, the subject may be banal, but the result is anything but.

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