%\\]*$" size="20" maxlength="200" tabindex="1" onKeyDown="keyDown(event)" accesskey="s" title="accesskey: s" value="" placeholder="Cerca" autocomplete="off" autocorrect="off" autocapitalize="none"<English-ItalianItalian-EnglishItalian definitionEnglish definitionSinonimi inglesiEnglish-FrenchFrench-EnglishEnglish-SpanishSpanish-EnglishEspañol-FrançaisFrançais-EspañolEspañol-PortuguêsPortuguês-EspañolEspañol-ItalianoItaliano-EspañolEspañol: definiciónEspañol: sinónimosEspañol: gramáticaCatalà: definicióaltro...
BiographyPierre Alechinsky (born 19 October 1927) is a Belgian artist. He has lived and worked in France since 1951. His work is related to tachisme, abstract expressionism, and lyrical abstraction. This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License
From top-left to bottom-right, or (mobile) from top-to-bottom: child victims of famines inIndia (1943-44)
Art and Money: How to Thrive as an Artist without Selling Out
(Note: the video on the left provides an 8-minute overview to theproduct. If you'd rather read, just scroll down!) The Bad News About Art and MoneyHere's a shocking idea: artists are not destined to be poor.If you're an artist, you can actually make money from your art, feelgood about it, and build up a following to support your independentcareer. Seriously. The problem is that many artists don't know how... and that leads tothe bad news. The bad news is that most artists will fail to make aliving with their art. Every year,more than 30,000 artists graduate from art school in the United Statesalone. Despite the strong talent and ambition of many of them, only asmall fraction of artists manage to support themselves in the careerthey are passionate about. Worldwide,it's the same story -- a few people make it, but most don't. Naturally, not every artist wants to make money. Some areinterested in art as an introduction to another career, and otherspursue art as a passion or hobby. There's nothing wrong with that, ofcourse -- but the point is that many of the 30,000 chose to obtainprofessional training in the arts so that they could be professionalsand make a living. This unfortunate fact raises the question: Why do so many artists fail in their quest to earn a living throughtheir art?The good news is that most artists fail NOT because theylack talent but because they have not been properly trained in howto represent themselves, build a customer base, and actually selltheir great artwork.The good news is that most artists fail NOT because they lack talentbut because they have not been trained to representthemselves, to build a customer base, and to actually sell their greatartwork. See, the old way for achieving fortune and fame as an artist (or atleast a working income) was all about receiving the favor ofgatekeepers. Beginning with the patronage system in Europe andcontinuing with the galleries and museums of modern times, the old waywas all about groveling for the endorsement of outsiders, who then tooka huge percentage of the artist's income in exchange for the "privilege"of representation. It was very effective... for the gatekeepers. The old way still works for a small minority of artists, but theproblem is that it's a zero-sum game and hard to break in. Thankfully,there is a clear alternative. The clear alternative (the new way) involves taking your artand your future intoyour own hands. Instead of hoping for a big break or the favor of art critics, the newway allows artists to build up their own fan base and sell directly. Thenew way won't work for everyone (don't believe anyone who promisessuccess for the whole world), but it will work for most people who arewilling to take risks and work hard. My collaborator and I created this project for artists interested ingoing to the next level of sales -- regardless of where they're startingfrom. If you're an artist, the Unconventional Guide to Art and Moneywill help you sell more of your art without selling out. Introducing the Unconventional Guide to Art and MoneyBuilding on the knowledge of successful, working artists, theUnconventional Guide to Art and Money offers a range of materials tohelp you supersize your career in the arts (if you want one) or beginearning money from your art. All materials are delivered immediately after purchase by electronicdownload (no shipping charges) and will work on both PC and Macs. Theproduct includes: 55-page PDF guide3 MP3 audio interviews with artists who actually make moneyPDF transcripts of each audio interviewContinuing Email Updates(There are two versions of Art and Money - one for complete beginnersand one for artists with some initial experience behind them. Keep reading for all the details) From Where You Are to Where You Want to BeArt and Money is designed to help artists at all levels go to the next level.Generally speaking, artists with the desire to make a living (or at least createsome kind of income from their art) fall into three categories: Stage 1: Not Making Any MoneyThe Goal is to help you take the first steps and begin making sales rightaway (within 60 days for most people) Stage 2: Making Some Money - (but not much)The Goal is to create dramatic improvement to set you up in a real business. Stage 3: Already Financially SuccessfulThe Goal is to increase revenue without increasing stress. What Kind of Artists?We've focused primarily on visual artists for the case studies. Painters,illustrators, photographers, sculptors, and crafters. To a lesser extent, Artand Money is all about helping artists of all kinds. You may have heard thesaying, "We are all artists, even if we don't know how to draw." Many of the principles in the product are relevant to anyone interested increating a career or expanding their online network. In other words, if youdefine yourself as some kind of artist -- or if you'd like to -- Art and Moneyis for you. (Read the free279 Days toOvernight Successmanifesto to learn more about building an independentcareer through writing.) What You'll LearnFigure out your priorities and map out a personalized long-term action planSet prices that respect the value of your work and still cater to a widerange of buyersDraw new and repeat customers simply by connecting with cool people andtelling storiesAttract traffic to your site with a dynamic blogCreate an online gallery space that feels just right for you and your workCreate a fan base through social mediaEarn extra income by creating work that can be sold again and againExpand your online presence without overwhelming yourselfFind new opportunities to promote your art without wasting your timeWhat You Won't LearnAnything about your specific media (that's what art school, lessons, books,and other resources are for)Anything about gallery representation. If you can get represented by agallery, good for you. Most artists can't, and my view is that you can probablydo better on your own anywayThe magic formula. In other words, if you don't like hard work, this isn'tgood either. To learn about working hard, go readThe War of ArtAuthors & Interview SubjectsChris GuillebeauThat's me. I publish theArt of Non-Conformitysite and travel around theworld. I write for free and help people with specific needs through productslike this one. Zo?WesthofZo?is a self-employed writer currently based in Chiang Mai, Thailand. Artistinterviews and the primary writing for this project were completed by Zo? andyou can check out more of her work in the guide. Zo?and I are both self-employed writers, so we understand basic conceptsabout working for yourself and attracting an audience. However, we're not visualartists - so to get the perspective of painters, illustrators, photographers,and crafters, we went to the source. Here are some of the experts we interviewed for this project: Leah Piken KolidasLeah is a mixed media painter who sells her art at her ownBluetree Art Galleryand blogs atCreative Everyday. Leah began her art career as anindependent artist with a day job, and she became a full-time independent artistabout two years ago. Karen WalrondKaren quit her job as a lawyer in fall 2008 and became a full-timeindependent photographer and writer. Karen has a portfolio of her projects and ablog atChookoolonks.com. Michael NobbsMichael draws, makes books, and blogs atMichaelNobbs.com. Michael becamea full-time independent artist in late 2008 and is steadily expanding his artcareer through the internet. Among other things, he has built a wide network onTwitter. SonieiSoniei is a painter who shows her work and blogs atSoniei.com.Soniei began her independent art career in 2006, after leaving a string ofunfulfilling jobs to finally focus on her genuine passion. Dan DuhrkoopDan is a painter who runsEmpty Easel, avalue-packed resource for independent artists. Dan also created the art-sellingservice Foliotwist after being disappointed by the options available to artists selling online. Hazel DooneyHazel is a conceptual artist who displays her work atHazelDooney.comand blogs atSelf Vs. Self. Hazel abandonedthe traditional gallery system in 2004 and built a highly successful art careerby representing herself online. (Warning: Hazel's art contains some maturematerial. Her income is also highly provocative, since she earns more as anartist than most professionals do.) Shannon OkeyShannon embodies the artist-entrepreneur, creating knitting patterns, writingand publishing knitting books, and running a collective of fellow fiber artists— among many other things. Shannon’s home base isKnitGrrl.com, whereshe connects with her large community and links to her various artisticprojects. With one exception, each of these artists is earning a full-time orsubstantial part-time income with their art. The one exception uses art tosupplement an existing income - another valid goal we look at in the product. Note: A couple of other artists were also interviewed, but asked to remainoff the record. You'll benefit from their input (and in some cases, also see who they are) ifyou get the guide. PricingThe Art and Money guide is designed to be affordable to workingartists. Despite the fact that more than 70 hours of work went into production, theproduct is offered at a budget price. You'll get 15,000 words of excellent content, at least 3 MP3audio files, and an additional email update series that arrives over time. Youhave two options for your purchase: $39 - Basic "Starving Artist" VersionIncludes the 55-page guide, 3 recorded interviews (MP3 + transcripts), andfree updates for six months $58 - Upgraded "Picasso" VersionIncludes everything in the Starving Artist version, plus these additionalmaterials: An additional 20-minute "8 Most Important Lessons Learned"Interview with Chris and Zo? This interview focuses on incomemaximization and will help if you've already made some money withyour art but want to pick it up.An additional interview withSandra Miller, aPortland artist who does photography and jewelry with an unconventional twistAn additional interview withJosephSzymanski, another artist who offers a completelydifferent perspective from the other adviceWondering about which version to get?Either one will rock your world. If you're just getting started or only wantto create supplemental income, the Starving Artist version will be just fine. Ifyou want to go further and create a full-time career, or if you're alreadyhaving success with selling your art and need to take it further, get thePicasso version. GuaranteeYou'll receive a minimum of 5x-10x the value from this product. The valuationis determined entirely by YOU. I like to sleep at night, and don't want moneyfrom anyone who doesn't love what we've put together -- so take as much time as you need, up to an entire year, to evaluate the guide and decide for yourself. ConclusionThat's it. No hype and no hard feelings if this isn't for you, but if you'rean artist who wants to learn more about selling your great work, I'd love tohelp you do that with this great product. Thanks for reading! Chris Guillebeau Portland, Oregon P.S. Whatever you decide about this offer, be sure you spend some time thisweek taking your art seriously. That's the most important thing, right? Copyright?/font<2010-2014UnconventionalGuides.com
Syria: Assad forces 'using starvation as weapon of war'
Image captionA vast crowd of people queue for aid at the Yarmouk refugee camp near DamascusStarvation tactics against civilians are being used as a weapon of war by the Syrian government, the human rights group Amnesty International says. A new report saysat least 128 refugees have died at the besieged Yarmouk camp in Damascus as a result. It says thousands of people still trapped there face a "catastrophic humanitarian crisis". Amnesty says families have been forced to forage for food in the streets - risking being killed by snipers. There were reports of fresh fighting on the edge of the camp last week. Media playback is unsupported on your deviceMedia captionRami Ruhayem says delivering food to those who need it is a struggleYarmouk camp, which is estimated to house around 17,000-20,000 Palestinian and Syrian refugees, has seen some of the worst fighting in the capital. It has been without electricity since April 2013 and most of the hospitals have closed after running out of even the most basic medical supplies. "Syrian forces are committing war crimes by using starvation of civilians as a weapon of war," says Philip Luther, Amnesty's Middle East director. "The harrowing accounts of families having to resort to eating cats and dogs, and civilians attacked by snipers as they forage for food, have become all too familiar details of the horror story that has materialised in Yarmouk." MalnourishedMr Luther described the siege as "collective punishment" of the civilian population and called on the Syrian government to allow humanitarian agencies immediate access to the camp. Residents told Amnesty that they have not eaten fruit or vegetables for months and at least 60% of people in Yarmouk are said to be suffering from malnutrition. The camp was created as a refuge for Palestinians fleeing the 1948 Arab-Israeli war but it became a focus of heavy fighting in Damascus in late 2012 when opposition fighters moved in. The majority of the 180,000 Palestinians at Yarmouk fled what had been their biggest community in Syria but around 20,000 have been trapped inside since government forces cut it off in July last year. Last month the UN Security Council agreed a resolution calling for all parties involved in the conflict to immediately lift sieges, but this has so far failed to lead to an improvement in the situation of besieged civilians. The UN made some aid deliveries but these were halted when a truce between rebels and pro-government Palestinian militants in the camp broke down.
(free linked database)Wikipedia does not have an article with this exact name. Please search for Holodomor/ in Wikipediato check for alternative titles or spellings.Log in or create an accountto start the Holodomor/ article, alternatively use the Article Wizard, or add a request for it.Search for "Holodomor/"in existing articles.Look for pages within Wikipedia that link to this title.Other reasons this message may be displayed: If a page was recently created here, it may not be visible yet because of a delay in updating the database; wait a few minutes or try the purge function.Titles on Wikipedia are case sensitiveexcept for the first character; please check alternative capitalizationsand consider adding a redirecthere to the correct title.If the page has been deleted, check the deletion log, and see Why was the page I created deleted?.Retrieved from "https://en.wikipedia.org/wiki/Holodomor/"
How to make a living as an artist
How to make a living as an artistSome of this advice may appear contradictory. It may also be wrong and/or uncertain. That’s because I live in THE WORLD ; ) 1. Make good art This is always the first step. What ‘good’ means is of course subjective but I can’t be arsed to go into that. Many artists attempt to legitimise themselves by setting themselves up as a company, or making a fancy website, or creating an infrastructure around them, but the only thing that will ever legitimise you as an artist is the art that you make. So start with that (see point 8). 2. See it as a political act I have always viewed the attempt to make a living as an artist as a deeply political act. For me, being an artist is about playing a role in a philosophical shift that pre-empts political change. The act of being an artist and being paid for it shifts how we think about value, how we think about labour and how we view ourselves as human beings. There may be people (other artists included) who will see the desire to make a living as a somehow less authentic way of being an artist. This is bullshit and you must ignore it. Its important that you make a living making the art that you make, not the art that gets you paid or the art that other people want you to make, because then its no longer a political act. Stick to your principals, make the art you want to make and then make a living from it. (see point 4) 3. Find cheap rent The easiest way to make a living is to make sure a very small amount of money counts as a living. The first year I quit my ‘other’ job (van driver) to go full time as an artist I earned just over £5000. This requires making many sacrifices and letting go of certain romantic notions about what it means to be an artist. For example, the arty parts of town are the most expensive to live, London is the most expensive city. Driving a VW campervan might make you look like an artist but it will also make your living costs too high to be an artist in the first instance. The hardest challenge on the way to making a living as an artist is the point at which you make the jump. There is a point where we must leap into the unknown and stop earning money from our other jobs and its hard to know how/when to do this. Reducing your living costs pragmatically allows you to reach this jumping off point much sooner and you’re a lot lower to the ground should you not quite make it. After you’ve jumped off is the time to start thinking about campervans and arty parts of town but not before. 4. Set the agenda There is no model. You are in charge of designing the model for how your art will make you a living. Many people will tell you that in order to make a living you have to ‘get real’ and ‘diversify’ or whatever. Don’t listen too much to these people. Start with the art, then design a way to make it pay. This will mean forcing the agenda in lots of ways. When we started out we were told we wouldn’t be able to make a living because the only way to make a living was via regular funding from the Arts Council which was about to be removed as an option. We didn’t give up and it turns out they were wrong. We found a way to do it without regular funding partly because we demanded it was possible (see point 2). 5. Make friends Otherwise known as networking. If you don’t like someone, don’t be there friend (like real life!). 6. Call yourself an artist* It took me years to summon up the courage to call myself an artist. This is just fucking wrong-headed. Call yourself an artist immediately. *or theatre maker, or director, or jazz poet or whatever it is you want to self-define as 7. Immerse yourself in the work of others A very simple step but vitally important. Go and see as much work as you can. Go to all the shows in your local theatre, all the exhibitions in your local gallery, go to music gigs, read novels, travel and see art in different countries, watch TV and films, see as much as you can in as many different formats. Be a massive geek about it. Good artists who say ‘I never see any other artists work’ to make themselves look cool and authentic are BIG FAT LIARS. 8. Be patient Its massively rare, if not totally unknown, for artists to pop out of no-where with beautiful art. The culture of ‘next big thing’ and artists ‘breaking through’ is a falsehood. It takes a long time to learn how to make art and you will make lots and lots of bad art before you make anything good. So take your time, make the bad art, be honest about where you’re at. If you’ve just left university its unlikely you can make world-beating art. Place yourself in different contexts, go and see the world, do some living (see point 7), make lots of work and grow your practice slowly. Be patient with yourself. 9. Do it yourself No-one is going to do it for you. 10. Talk your own language Artists shift the way we think about the world. That includes shifting the way we think about the artworld. Don’t feel like you have to talk the language of the funders, or the venue programmers, or other artists, or even your audience. Talk your own language. 11. SHARE Small pots of money and limited opportunities makes for a seemingly competitive environment but don’t be fooled. You will be stronger and you will make better art if you share. Share information, share knowledge, share ideas, share successes and failures, share your fears and your worries. Set up an artist collectiveand share resources. 12. Recognise jealousy ART jealously is a useful tool. If you feel jealous of another artist it can help you acknowledge what it is you want your art to do. But make sure you know your jealousy comes from an appreciation of the work of that artist*. Don’t resent other artists their successes. *Sometimes artists make shit work and do make a living and that can make us jealous too. There is clearly a shortage of good art (because its v.hard to do) so continue trying to make good art as your priority. Don’t be fooled into thinking you have to make shit art in order to make a living. Seeing shit art can help you make better art so thank them for it, don’t resent them. 13. Work hard (but know what work is) You need to be a bad-ass maniac to make a living from your art. The task will consume you. It is a fucking mountain of graft. But don’t perform your hard work for other peoples benefit. don’t feel like you have to prove yourself by working too hard. Learn what work can look like if you’re an artist. Emailing is not the only kind of work. Conversation can be work, going for a walk can be work, sitting down and thinking can be work. There are some assumptions about what constitutes work that as an artist you can be responsible for changing (see point 2). Its also important to know that you are not a worse artist if you aren’t working. Taking 3 months off to go to Asia, or taking the day off to watch the whole of Friday Night Lightson DVD could be the best thing you ever do for your art (see point 8). 14. See limitations as possibilities Making a living as an artist is hard to do. Making art is hard to do. There are lots of limitations. But limitation is an important tool in the creative process so you can use the fact that its hard to your advantage. Limitation will impose structure and rules on your process which can actually facilitate more freedom of thought elsewhere. Don’t believe the ‘starving artists makes better art’ bullshit (peddled by people who should know better) but its ok to have some hurdles (and hurdles are one thing you can count on). 15. Make the work you want to make Don’t let ANYONE tell you what kind of work you should be making. EVER. 16. Get paid Some places might want to put on your art. Some of these places will be institutions that pay salaries to their staff and receive income from subsidy, ticket sales, philanthropy and pre-existing assets. Some of them will be artist-led projects run on alternative models, exploring the different kinds of value we might place on art. You need to recognise which is which. Don’t let yourself be exploited by not getting paid. If there is a system that is paying people enough to live and your work is needed by that system, you deserve to be paid enough to live too. There may be people who try and convince you otherwise. Do not listen to these people. 17. Talk to artists who make a living and ask them how they do it I’ve been making a living solely from Action Herofor 5 years (ish). I count this as one of my proudest achievements. But 5 years is not that long and the sands shift everyday. I talk a lot to other artists who make a living to help me find ways to navigate the tricky territory and find new models all the time to allow it to continue. Some artists have been doing it for 20 years or longer. They are good people to talk to. Its not easy but I keep trying because I believe we should expect that artists can make a living from their work. We don’t have to if we don’t want to of course. But it should be possible (see point 2). Comments aren’t enabled on here but if you want to chat find us on twitter to find out more about the author click here
Best Things to do in NYC Today with Free Events, Concerts and Art
It’s rare to be in the greatest city on earth and not have plans, but if you’re stumped for things to do in NYC today, consider us your entertainment saviors. Daily, there are awesome events and our criticks' picks for Broadway showsto see, but if you’re searching for something really specific like new exhibitions at the city’s top art museumsor something low-budget—like free things to do—we have everything you need listed right here. RECOMMENDED: Full NYC events calendar
source : international currency ，Welcome to reprint and share。