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GREETINGS -

Noticed, that  my 'feel' in regard to expectation and inspiration for exhibits, is influenced to a great degree, by 'Theme' of Exhibition.. Title.. Am so much more exited, and anticipation at much higher level , when Theme or Title 'flows' , embracing meaning in my Art Pieces- or hues, forms- resonates to art appreciators, clients..if at all- offering freedom,  to perceive individually. I desire,  to 'touch' broad range of age, gender, backgrounds.. If contrast is wanted, for reason related to Art collection on exhibit, should still  resonate in individual. 'Own Obvious' is found , as soon as  collection is viewed..   Often like the mysterious- so mind, core..eyes are enticed to search and find on their own- within the time offered..And Theme raises pre- awareness.

Well.. I write this, because I just was informed by Artdirector Marcello Cazzaniga, of Camaver Kunsthaus Inernational Galleries, that during Spring/Summer, the masterpieces of my 'Mignon' series, which are in Italy with Camaver Inernational , will be exhibited in a newly opened atelier in the city of Seregno, close to Monza and Milan. Smiiiile..Been there . ..and loved it there..

The meaning/subject, is beauty..and will be a series of personal exhibitions. My Signature Art Pieces will be related with Oscar Wild 'Dorian Gray Portrait'...

 So.. THAT is..why I write about.. how Theme/Title touches me with inspiration and anticipation..exitement- and this one again, does.. 

Camaver International discovered my Art on absolutearts.com - welcomed and promoted my creations as very special- Am privileged and thankful, that I have my absolutearts.com global exposure and great team behind it, and my Camaver Kunsthaus International great !! Galleries with their fine staff presenting my art works in Europe.

And feels so just right- have all of YOU visit my portfolio, (thousands of hits daily per stats),  enjoy my creative offerings in expression of hues, forms, visages, liiiiiines...  ;-) Moods..

My Art Pieces are in such great place, with thousands of beautiful, fellow artists creations!!

I bow.  Peace and Light, Yours Truly. Luise

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Sweet Lips In Dream State is a drawing extracted, or abstracted, from within the artist's imagination. The title was derived at due to the young lady's full lips while having her eyes closed. This drawing is available in a matted, glossy photo print for $50, or in a giglee print for $75. The print is available within an 8 1/2" x 11" mat, in black or white. Delivery is $5.00 additional within USA.

CLICK ON THE LINK BELOW TO SEE THE PRINT WITHIN A BLACK MAT

http://www.original-art-paintings.com/SweetLipsPrintMatBC.jpg

VISIT WEBSITE BY EDWARD LONGO AT WWW.EDWARDLONGO.US

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After near about sixty years of Indian modern art history galleries are still behaving like shops and artists like craftsman. Earlier the agenda set by ‘Bombay progressives’ is still prevailing as most authentic ideology and approach for art progress. The virus of ‘Marxism’ that bugged Indian mind since the establishments of ‘communist party of India’ and ‘progressive writers association’ of Prem Chanda and then ‘progressive artists association’ has a fatal impact on our cultural development. It is petty bourgeois class that has no ideology of its own sought resort in the Marxism to excess the socio-political. It is this class that prevailed in art and culture after independence; having no character they like electrons jumped from one political and ideological orbit to another in search of opportunity. Their opportunism was to such extent that during independence many among them joined British gang and helped them in their adventure. In art and culture field they took reign, they ate its spirit and cancered it with the bug called ‘Marxist ideology’. They were never truthful to their persuasions it is true; what they called ‘ideology’ was just a tool to excess socio- political. They had their own type of petty-bourgeois socialism as we see it in formation of many cast centered political parties. Many feudal mentality intellectuals that formed political parties like JDU, SP, and the like to lead the feudal class did all wrongs to us. See how socialist like Mulayam Singh and Lalu Yadava during their reign promoted feudal lumpenism doing all crimes against people and the society. Their cultural Heroes having feudal mentality tried to corrupt the masses. These are the ills of the society who are promoting kinds of culture and mentality “jo dikhta hai wah bikta hai’ and “any how earn money and enjoy it”. One Week back I was watching NDTV India where recently Padam Sree awardee journo Barkha dutta hosted a show and called Shobha Day, Maurin Wadia as judges in the show together with editor of the LOKSATTA in which Shobha Day put her stamp on “jo dikhta hai wah bikta hai’ advocating Rakhi Sawant kind of stretcher for youngsters of new India to follow. Now this petty bourgeois mentality writer who is all famous for her third class writings has become intellectual. Bhaichanda Patel Outlook columnist in his recent review of her book ‘superstar India’ wrote “she skips from one topic to another without saying anything substantial …..Nothing is analyzed, just a thousand words on something and we quickly move on to something else. She takes us to Shanghai, Bangkok, Singapore, Xian and London. The reader can only wonder what these places have to do ‘superstar India’. She is representative of Indian petty bourgeois class intellectual who have no content that is sublime.

This kind of mentality is being promoted by many opportunist intellectuals and journalists. The motif behind this is only one- ‘save petty bourgeois consciousness by promoting irrationalism’.  In this postmodern world there are journalists and TV channels that promote stories of Ghosts and superstitious content to dumb the viewers mind. Corrupted consciousness of newly rich class of the society has to be blamed for this kind of promotion and corruption. Amongst all this many others are there who (namely Maoist revolutionaries) are active and doing well to capture the power from this ruling section of the society. The specter is waiting to come but this petty bourgeois class people that believe only in self centered way of life is blind. They have no philosophy of their own they are shifting electrons they behave according to situation. As I have already said they are opportunist; what they are doing they are doing and when other will grab power from them they will join them and follow them. It happened in British era too. In cultural arena too this class is doing the same, it goes at any extent for the money. Contemporary Indian cultural intellectuals seek all kinds of logic to validate their ills. Contemporary art is also cancered by many ills in the name of progressiveness. Husain’s paintings has nothing to do with art since he has no artistic temperament that creates art that is ‘NEW’ so he takes resort in controversies painting object of faith. He has nothing to do with beauty; he wants just news so he often paints cinema actresses. How to make money and how to make news, he has learned. This old man falls under lumpen craftsman category; he has neither learned nor let other artists learn. Picasso throughout his life never painted objects of faith to get controversy, why? Because he was engaged in creating “new” art that we revere now as Cubism.  

Our gallery owners befooled by these claver artists, they were caught in the net of ‘progressives’ that has not progressed a little bit. ‘Whatever can generate money is good’ is their motivations; they could be able to generate capital out of shit. Now while abstract art is proclaimed dead (because it was largely decorative) they are running after Chinese Avant-Garde that largely draws its inspiration from American realism and surrealism. China that got independence two years after ours has become Indian petty bourgeois class ideal to follow. Why it is so? Because they during all these years took challenge to create something ‘NEW’ that they could say their own creation. It is this that makes a nation great. Those who have read the story of great America know how she became powerful. We hope to become world champion and world power and ha! With the petty bourgeois mentality that steals but not creates. Here I am raising question of validity of the trend set by petty bourgeois people, artists, and galleries. As long as truth is not revealed one can cheat to a nation and people but as soon as it is exposed it loses its all power. It is very important for progress to be truthful to what one is doing. During immergence of modern art in India one famous art critic Geeta Kapoor who belonged to elite class of the society wrote a book “when was modernism” basing her self on Marxist concept of aesthetics. In the book she suggests a kind of nationalist modernism but no where she has put the basic question that what is ground of that nationalist modernism? In her book she inquires the evolution of modernism in art but did not question the authenticity of artist’s creation? She rejects all the abstract artists of Indian modern art on the ground of Marxist aesthetics. S.H.RAZA, G.R.SANTOSH, J-SWAMINATHAN, K.CS.PANNIKAR, GANESH HALOI, etc could not found a single page in her book. They were declared irrelevant because they perused aesthetics of ‘High Modernism” which was considered bourgeoisie aesthetics. This orthodox progressive understanding of aesthetics led many artists in wrong direction.

Drawback of petty bourgeois consciousness is this that it does not create; it’s a parasitic consciousness living and exploiting on other’s creations.  Scientist turned historian and philosopher D.D. Kosambi once said, “The outstanding characteristic of a backward bourgeoisie, the desire to profit without labor or grasp of technique, is reflected in the superficial ‘research’ so common in India”.  They have been called by Marx “the industrialists of philosophy and art who live on the exploitation of art spirit”. Cultural history of post independence India tells us that never was a time when our creative people strived for anything “new” that they could proclaim to the world as their own. Creative people and intellectuals of the world revere not what Indian petty bourgeois class has created after independence rather the heritage our ancestors had left for us to explore. All the Important Researches were done by westerners in the fields like philosophy, art, religion, theology, not by Indian intellectuals. Why? because, during the wake of modernization in India the so called ‘progressives’ negated the wisdom and philosophy of India and blindly by declaring it brahmanical and followed European kind of modernism that came into existence because of their own problems. Indian artists just followed the wisdom of modernism without proper research and study. The wisdom and knowledge that is still being appreciated by many postmodern philosophers and literary personalities was declared barren. It was the leading petty bourgeois class of the society that being cancered by Marxist ideology taught people to follow the European ideologies. There were some artists who first accepted western type of modernism of art but later rejected it believing in the wisdom of India. Among them were Raza, GR Santosh, Biren Day, KCS Panikker, J-swaminathan, Om Prakash Sharma, Laxman Pai, A. Ramachandran, Manjit Bawa, to name few. These artists contributed to art in India and one can say that their art has Indian flavor. Their greatness lies in their creative urge and their promises that ‘one day they would deliver an art that one could say own creation’. But petty bourgeois that inhabit the cultural world did all kinds of conspiracy against these trends to not come out in open.  J-Swaminathan whose contribution to Indian art is unsurpassable knew these petty bourgeois mentality and rebelled against them forming a new group called “group 1890’ and started probably first art magazine out of his own hard earned money.  Galleries did not help him in his venture and artists like Husain, Krishen khanna (notably these were the artists against whom he did everything, he fought against Husain’s opportunism and backwardness) did all kinds of conspiracy against his venture. His efforts to lodge a discourse in art was not fruitless many artists followed him. He has a say in Indian modern art that has some truthfulness, his struggle against petty bourgeois culture is a historical one and will be remembered. 

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My work Triangulation Series 2006-08 expands on questions dealing with perspectives synthesizing concepts of pictorial space and infinity: something I have worked on over the years. I have allowed painterly abstraction/plasticity to express both in form and content a kind of art that goes beyond a material world of signs; my paintings reach for the infinite—the mystery and the poetry in every man’s individual drama.  Though immersed in 20^th-century aesthetics, I neither strive for a specific historical movement nor for the postmodernist agenda.  Simply, I look at making art as a “fleshy” product of human experience, a resultant of the maker’s time. Just as idiosyncratic nature is blind to causality, an aesthetic frame embraces all its senses and the image is the result or residue.

Autobiographical, ritualistic, or even devotional—in this sense—the image or Kunstgegenstand seek not to explain what the meaning of experience is; rather, the image manifests itself, provoking interpretation.

There are no outside sources nor preconceived notions of the final composition. Gesturally and intuitively, I use the plane of the canvas as an active platform (in other words, a conversation, so to speak, takes place among the paint, the canvas and me as I apply paint onto the canvas.)  In variegated densities, layer after layer—transparent or textural—the work transforms itself gradually by spectral accruement. In continuous dialogue, I work on several pieces at the same time so all are able to inform the other. An inner rhythm from each composition thus unfolds and guides the shifts and the construction of forms: burials, resurrections, exaltations, veilings, reattainments—all thanks to the gritty and sumptuous nature of the medium; a moodiness arises from the interlocutors with its acrid qualities of dissonance and complementary transparency.  Indeed, it is color, as texture that establishes the emotional landscape of each piece.  The finished work stands on its own as a concentration of multiple layers; each of the numerous strata is essential to the completeness. There is a sense of multidirectional movement in each of the works that acts on the viewer’s eye as he/she glances over the delineated shapes and peers through the entanglements of strokes and arabesques.  The viewer comes away, I hope, with the sense of the works’ generative completeness of a universe making and remaking itself.

As I said at the beginning, I search for a degree of universality through the unifying mode from the masters of the classical West. It is they who lead me as I wander around in my space of today’s uncertain and leaderless being, where authority is seemingly derived from conflicting, confusing powers of disbelief. Freedom has come to us but its ethers and incongruities make us stagger.

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. Artemis (the Roman Diana)as inspiration to philosophic Garden Design as well as to exciting magic paintings.

As gardens I have in mind my favourite London/UK Gardens ChIswick and Syon Park.Their creators have left for us explicit references such as a sculpture of the goddess in Syon Park and a wall painting in the temple-villa in Chswick Estate.

But my consciousness was fully aware about this relationship between philosophical gardens and Artemis only after I have seen several times the jewell work of art that is the film 'La belle et la Bete' by Jean Cocteau. After that, I 'discovered' Artemis even in the painting of Modigliani, 'La Primavera' Professor Feuvre, said once in a lecture I attended, that at both ends of the painting is depicted Hermes; one descending on Earth and the other ascending to Heavens. My partner said that to the right the sequel of Zephyr (representing the descending Hermes) united to the nymph of Diana or Aphrodite, produces the third image, flora, otherwise an ermaphrodite being witht hat naughty and enigmatic smile that set us questions ... I see Venus in the trio to the left, ususaly suposed to be the three graces, but there could be the three goddesses in competition for the apple offered by Paris/alias Hermes. their dance repre3sents the spiralic ascendance and the triadic form of Hermes trismegistos, acording to my reading of the painting. And recently I decided, that the figure in the middle of the painting, suposed to be Venus, is not really standing at the backgorund but she rather is slightely flotting above the ground and she is also bigger than all the other figures (if she was at the background, in the logic of perspective, she would look smaller than the others). She is also dressed up rather like a Madonna of the time. But she is Artemis in my eyes, or at least an icon between Venus, Artemis and Mary.

Venus is related to the Spring equinox via the resurection of Adonis and his return to her amorous arms. But Artemis is also strongly present int he3 imagination of the patrons and the works of art of 17th and 18th century, when these patrons are alchemists (as it was the starter of Syon Park), and massonic mystagogoi, (as it was Lord Burlington of Chiswick House and Garden).

Also recently another French man of arts and litterature induced me to the idea of Artemis in 'La Primavera' by Botticelli, whos patron was Lorenzo Medici. Then, in one of 'Les Filles du feu', Aurelie, Gerard de Nerval informs us that the patroness of the House Medici, was Dianna, goddess of natural magic and alchemy (Medici were originaly big and reach through pharmaceutical and colour production, by which they got also this family name). Yes, Artemis is not only the virginal tom boy hunter; she is also the hard judge of who disturbs her flora-and-fauna balanced cycle. She protects and she punishes; she is the Priestes par excelelnce upon every magic transformation of nature - and what is more spectacular than the ever renewd rebirth of Primavera? the spring time of young leaves, blossoms, birds and loving human hearts?

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Today I set up my second art stall, I now have a stall twice a month on the old setting of the Pantiles, Royal Tunbridge Wells, UK. Better set up and ready I only forgot afew photographs, but took three paintings. Yes you've guessed it, the visitors were more interested in the paintings than the photographs. None sold though!! But on the photographic side I have taken a deposite to print 'Modern Trees' to a 29cm x 29cm size, so the sale of this will cover this and the last stall rental. I will be placing 'Modern Trees' on to this web site straight after this blogg!

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very time we beckon, we call. And lo! they do appear as though they are here and now. Spirits are violent and historical; we live through and by them. For thousand years we are teaching love and peace but they would be called upon and all these good Spirit theories vanish. Among spirits Spirit of Marx is great which is haunting our lives. Haunting is historical says Derrida. We are being haunted and we are condemned to live through and in them. Every time when humanity faces problems they would be beckoned; Spirits, are you there? Hegel Says, “reason is spirit when its certainty of being all reality has been raised to truth, and it is conscious of itself as its own world, and of the world as itself. The coming-to-be of spirit was indicated in the immediately preceding movement in which the object of consciousness, the pure category, rose to be the notion of Reason.” It is this very spirit -reason that was resurrected by him as universal spirit inhabiting nations. This spirit was criticized by Marx; he analyzed those spirits -the industrialists of philosophy and art who till then had lived on the exploitation of the absolute spirit. So haunting is historical; in every juncture of history a spirit-specter is being invoked and it haunted the humans. We are mortals only spirit is immortal, it has all right to haunt us and make us immortal. We believe in spirits, in past, we live present through past. Spirits are in us, in our morality, our culture our way of life. We don't see them only we feel them. Derrida says; “specter is becoming- body a certain form of spirit”. We have learned it from our ancestors that's why we find spirit worshipers eveywhere. Many traditional Indian Baniyas invoke the spirits of their fathers and fore fathers in their houses and shops. What exactly they do by invoking the dead fathers? They are invoking their spirits (rason) that knew the art of haunting (exploiting) people. We never let our fathers die; we are habitual so we make offerings to them. We are haunted by ghosts from birth to death; one spirit exits then one enters, then one exist and another enters -this goes on and on. Why they never leave us? Because we have memories; we can not get rid of memories and history (it is also memory). Whenever we try to get rid of them, to get rid of memory they would appear and say as the ghost of Hamlet says-

Ghost- I am thy father's spirit,
doom'd for the certain term to walk the night;
and for the day confine'd to fast in fires,
till the foule crimes done in my dayes of Nature
Are burnt and purg'd away: but that I am forbid
to tell the secrets of prison-house;
I could a tale unfold…

and we obeyed and spirit won. Spirits are buried in graves, memories, histories. Museums and ideologies. One has to know it in order to invoke them, one should know them in order to burry them so far they could not move and roam and haunt. Marx described and diagnosed them notably that of its unifying project and tried to burry them. He commanded them but they were waiting in the folds of history to reappear and burry the spirit of Marx. It goes on thus there is no rest. Valery wrote about this problem of spirit, " the European Hamlet looks at thousends of specters. but he is an intellectual Hamlet. he meditates on the life and death of truths. his ghosts are all the objects of controversies; his remorse is all the title of our glory......if he seizes a skull, it is an illustrious skull--"whose was it? -- this one was Lionardo.....and this other skull is that of Leibniz who dreamed of universal peace. and this one was Kant qui genuit Hegel, qui genuit Marx,...Hemlet does not know what to do with all these sculls. But if he abandons them! ....will he cease to be himself?". we love spirits so we have book of deads, the theories and practices that make them appear according to wishes.


This spirit is abstract as well as concrete. It is this spirit that has taken a form of empire, it this very spirit that baptizes humanity with its morality, law, custom etc. Spirits are controlled by power, production machanism, art, literature etc.; for its possession there were wars in the history. I thorugh my art try to identify them, let them reappear on my canvases in order to bury them. Spirits command spirits this is the rule. As in france spirts ousted one another, heroes of the mind overthrew each other rapidly during the wake of modernism so it could happen here in our country too.'Time is out of joint' ... And new Ghosts are swearing behind the stage and waiting to make their entry since good art is making its exit... 

see my ghosts http://rajesh.theenlightenedworld.org/figurative2.html 

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In the previous 1.5 months I installed two megalights (3x4 m in size each) on the streets of Skopje. The locations ensured optimum visibility of the project:

- one right in front of the Government building,

and the other on one of the busiest intersections in the center of Skopje:

The megalight includes the title of the work, the size, year and medium, i.e. Zoran Poposki, “Abstract Politics 1 (Political consensus holds key to European integration)”, digital print, 3x4 m, 2008. Also provided is the address of the website with documentation of the project: www.public-space.info to direct the viewers to learn more about the concept and process.

The documentation of the process and 10 digital prints on forex of the works in the series were exhibited at the Tocka Cultural Center in Skopje.

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Richard Solstjarna Solo-exhibition at Sala Barna Gallery, Barcelona, Spain during 15 May - 2 June.

Reception: Thursday 15 May 19.00-21.30h.
Location: Sala Barna Gallery, Place Molinas,  Barcelona, Spain

www.solstjarna.com
www.absolutearts.com/solstjarna
www.myspace.com/solstjarnaart

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Fernando and Rui are old friends, open and passionate about their differing views, and as such they are entitled to have their squabbles on and off, but I get along with both of them just fine – there is such a great deal to learn just from being around these guys. And whenever the students are in they are very respectful of my need for space and quiet and don’t pose a problem: if I have time I wave them in and we chat for a while, if I don’t, I just make a gesture with my hand in the air to acknowledge their being there and they know to watch from a distance before going back to their own tasks. At other times I’ll walk past to get water or wash my brushes and I stop here and there to comment on the progress they are making in their own work and whatever difficulties they may be experiencing. It all works out much better than I had anticipated and I know that this is one of the things I will surely miss when the time comes to step off this boat.

Create your blog in this textarea.

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chinese artist say its a new cutural revolution that has come togather with its matterialist development. its more about propaganda then art. The art that is on move is not beyond Rene Magritte's art . Specter of Rene Magritte is haunting chinese art. China Avant-Garde is just a hype there is no reality in it regarding language of art. Its language lacks originality. Its not postmodern art as often many artist tend to understand and propagate; its just a new kind of realism. Postmodern art has not arrived ; it is yet to come. only new and original can endure in the stream of time. 

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This sweet animal has a beautiful calico coat and an engaging and unwavering gaze. My sense of awe and reverence for animals grows, as their soulfulness and apparent ability to feel and even think, become more evident to me.

If you've seen the video that's been going around the Internet, of an elephant painting his self-portrait, no doubt you have felt the same exhilaration that I did, when contemplating how this giant mammal seemed to "think" about the accurate placement of each brush stroke. Even if he was prompted by his trainer, by touch or visual prompts, his behavior is still deliberate in a way we humans have not historically attributed to animals.

I posted the video of the elephant painting his self-portrait in my last post so you can watch it, if you haven't already seen it. It stands apart from the other videos we have seen, in which elephants "paint" to music. In the other videos, the elephants seem to be enjoying themselves but the viewer is not sure whether there is much volition or deliberation behind the seemingly random and free movements.

I think we all have enjoyed many of those inter-species, "love-and-relating" email forwards, as well. The bottom line is that we all want and need love, and it's sometimes easier to find animal behaviors to stand in awe of and applaud, than it is to find laudable human behaviors. Predators in the animal kingdom hunt and kill to survive, just as we take animal life, as part of the food chain. But lacking our level of critical thinking, they don't have all those nasty defense mechanisms that are borne of our human propensity for self-doubt. In my opinion, our self-doubt projected outward leads to a lot of unnecessary tangles and confrontations for many people. Imagine the time and resources we waste being angry at strangers. We may sneer behind their backs or scold them either tactfully or rudely, or we may walk away silently, puzzled by a suspect behavior that we disapprove of, yet vesting our energy in it.

Yesterday while driving on a busy secondary highway coming home from an art show, I signaled to move from the left to the right lane, to exit onto another parkway. The guy behind me not only sped up so I couldn't move over, but he flipped me the bird as he passed me. I was astounded at his random act of free-floating hostility. I'm glad I'm not that angry!

Animals vie with each other for supremacy, but in a more direct way: for physical dominance of habitat or available territories, or for the attentions of a fertile mate. Yet we humans vie with each other on so many more levels and with so much more at stake. What's at stake as a result of the culmination of competing human behaviors is nothing less than the survival of Earth and all her inhabitants!

I think it would be a good idea for us to ponder the interactions of animals and begin to evaluate our institutions and behaviors from a survival standpoint. I've seen squirrels, robins, blue jays, and a baby rabbit, all occupying the same meagre footage of my back yard, all foraging for food while ignoring the others who are doing the same thing in their own way. They are different species, living a peaceful co-existence. Their truth may be "to eat or be eaten," but they are not tied to status issues, political correctness, or supremacy issues. They don't vie over ideologies. Maybe they are lucky, to be at a "lower" level of intuitive and intellectual functioning. As for peaceful coexistence, maybe we humans can do a better job of using our intuition and intellect in more constructive ways.

ORPHAN WORKS ACT

Some of the members of Worldwide Women Artists Online, of which I'm a member, have brought the Orphan Works Act to trhe group's attention. As I understand it, this act was defeated in Congress several years ago, but is currently under consideration again. If passed, this law would drastically reduce your control over your ownership of your creative works, especially images posted on the Internet. I'm not an expert on it, nor on legalese, but I've read enough to know that the outcome of this proposed law is very important to artists and photographers, as well as writers.

Here's a link to a site where you can sign a petition against it. Why not sign and pass it on? This is so important to all of us!!!

http://www.gopetition.com/petitions/no-to-orphan-works-act.html

Let's make our voices heard. We should all blog about it, too, or we'll become just another casualty of corporate greed!!! (If you want more information on the bill, just Google "Orphan Works Act," as I did, and numerous sources of information will pop up. Spend ten minutes reading, and be your own judge!)

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The original painting depicting a house High On A Hill was created on canvas during 1988. The framed artwork is currently on sale at a private exhibition mid-town New York City for $1,200. 00

A Glossy Print of This image will be printed on Glossy HP Photo Paper and delivered matted for $50. A professional Giclee print will cost $70 . . . Multiple prints are available Upon Request. Send the artist an email if more information is needed about the print, or the original painting.

Review HIGH ON A HILL The COLOR PRINT - Click Link Below:

http://www.original-art-paintings.com/highonahill_print.jpg

Artists Website: www.edwardlongo.us  

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indian contemporary art situation is not good at present since many artists those who were welknown and auctioned in many online auction houses have lost ground and almost dead. investors have not taking interest in the artists works. market is slow no gallery is able to sale works of welknown artists. abstraction has sufferred a lot because there were trends of reproduction and repetition. those who have invested in many abstract artists artwork for future gain have lost and may not recover. even the new realism that is on move is not doing well because in it there are lot of copies. what would happen to the art of india god knows. the painting i sale in $800 many gallery sale more inferior works more then $5000. in their art craft is more art is less. Among them many artists are illiterate and having no formal education. many  big  Galleries are run by  india's industrial class ladies those who never had any exposure to modern art but since they have already clients because of the class they belong they were able to sale art works. but how long one can befool the investor? who invests in art for future gain. galleries invent any artist and by putting his work in auction houses thus making him master make people fool and cheat them. later when critic started evaluating their worth of artwork they  start criticising and they  vanished from the art arena. many investors have toled me this truth. i wrote a monograph on an artist and because of that she raised her prices, earlier she was saling in less then $4000 now in more then $20000. There were demands and she started producing more and more same kind of work and galleries started saling to the investors that artist is going to be great; invest you have an opportunity to earn big money. but since there is no essence in the production investers lost their money. there are many cases that i can tale you. In my magazine " the enlightened world' i wrote an article on artist and spiritualist "ADI DA Samraj" (see his works on www.daplastique.com)many artist asked me with wonder the kind of art he makes but galleries did not love because they feel danger of losing the game they are playing. With me there is a problem of being truthful and not cheating to the art lovers. I  know that many artists paintings can not stand infront my painting but they sale six times higher then me. Being author of five books and editor of the magazine is sufficient to put more value in my work of art then those who have nothing like this.
Art in india art is losing the ground because it is not truthful to itself. indian galleries sale Souza's drawings in more then $20000 whose many drawings are just copies of picasso . for reference see book 'Ars Erotica' BY Edward Lucie-smith page no 79 where Picasso's drawing has been published. in his lot of drawings this you can see. 

to read artcle on adida go here>>>http://www.theenlightenedworld.org/enlightened/adida.pdf.pdf

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