Page 1


GET NOTICED Advertising for success!



A letter from the editor Once again our editors have selected great articles that represent what Arttour International Magazine is all about; from exhibition reviews to news and events or even a visit to the Vatican Museums, it is all published in Arttour International Magazine. And that is exactly our aim, to be diverse and multidisciplinary and publish the best in the art industry. In this special edition, we will travel through the ancient works exhibited in the Sistine Chapel, the modern art exhibited in the artist studios of Brooklyn, New York and beyond. We bring you a score of information in the form of articles and interviews with experts in the field. These include the article from our latest Fine Art Competition "Conscious Creation". You will get to see who the top three winners are. There is also a full featured page of the ten best works submitted on this competition. Our travel section will bring you to the Vatican Museums with highlights on some of the best masterpieces on public exhibition. Choosing among great photographs isn't easy, but our graphic department crew worked really hard to make the best choices on this article, these photos, spread through the edition, will inspire artists,and impressed the public. You will be booking your visit to the Vatican after this issue. The images that we bring to you, from the works of Colombian Master Painter Belarmino Miranda, the amazing selection of artworks from the ten top winners of the Conscious Creation Competition and finally the images of the masterpieces found at the Sistine Chapel make you realize that in the wonderful world of art, there's no separation between the mundane and the divine because everything merges into one perfect creation. On our Online Broadcasting Channel we have a great selection of video interviews for you to watch. We brought our cameras to Toronto, Canada to the “Limitless Expressions� International Exhibition and now you can watch all details of the event. We also visited the studio of artists Wendy Waugh in Soho, New York and had the opportunity to meet with artist Wendy Cohen in the streets of the Village in Manhattan. Log on to our online channel now and watch interviews, artworks, artists and much more. We're very excited to share this issue with you and think you will enjoy both our print and our online magazine. Feel free to contact me directly with any suggestions. We're working hard to bring you a magazine you will love and look forward to your feedback. Natalia Castaldi

Editor in Chief


October 2012

The Vatican Museums

Pa! 11

An Exhibition Of Love, Beauty And Faith By Natalia Castaldi



CONSCIOUS CREATION More Than A Fine Art Competition! Pa! 22 By Grimandi



! !

An Exhibition Of Love, Beauty And Faith By Natalia Castaldi - Italy!



More Than A Fine Art Competition A Creative Celebration By Grimandi - USA



Just Love And Art By Juan D. Aguilar - Colombia



By Hayden Diaz - USA



By Cody LaVada - USA



The Art of Douglas Ross



“The Fountainhead Gallery” By Yadi Roman - USA



By Deen Albertini - Canada

s e i r e l l a G s um e s u M s t n e Ev s w e i v r e t In s w e i v e R Art Pa! 54

CONTRIBUTORS EDITOR-IN-CHIEF: Natalia Castaldi Internationally recognized art critic and writer based in Hartford Connecticut. As editor-in-chief, she has overseen the design of the magazine and is planning on the launching of Arttour International annual conferences. She’s also, a reporter for Advertising Age-Creativity, and a freelance writer covering art, design and consumer culture. ART DIRECTOR: Viviana Puello Founder of Vivid Arts Network, Artist, Writer and Art Activist. Vivid Arts Network is an art organization that reunites artists from around the world to help create an awareness and conversation on the issues that surround important social topics focusing on the healing of human traffic victims. CONTRIBUTING WRITERS: Cody LaVada - New York Cody is a performance artist, writer & designer who lives in Upstate New York. Inspired by the dark side of life, Cody’s unique creations are often a macabre amalgam of fashion, passion & theatricality, interwoven with intensely-personal experiences, such as body modification & mental illness. Cody is thrilled to be working with ArtTour International & spreading awareness of both the ingenious artistry & the social conflicts that the company fights to erase. Haydn Diaz - New York Haydn Díaz received his B.A in English Literature and Minor in Theatre from the Honors College at Florida International University in Miami, Florida. He is currently based out of New York City where he works as a playwright, director, poet, writer, theatre artist and musician. His works have been presented in regional and national festivals as well as in Miami and New York City theaters. He is currently Literary Associate at IATI Theater and is a member of the Dramatists Guild of America.

Front Cover: “Enigmata” by Douglas Ross Back Cover: “Slowly Like Venice I’m Sinking” by Suzanne Anan ARTTOUR INTERNATIONAL PUBLICATIONS INC.

Distribution & Marketing GRIMARTE GALLERY

Graphic Design & Photography ALAN GRIMANDI

Video Production & Direction VIVID ARTS NETWORK


Translations & Editing Humberto J. Orozco Ariza Information Technology

Deen Albertini - Toronto I am a writer and a poet. I am also an art collector and enthusiast. Art is a window to the soul, and it is the only thing that captures my imagination. Civilizations come and go, but great art is forever.

Yadi Roman - Albany Film maker and writer of highly personal films. While many of her works reflect on her experiences with psychological disorders, her current research interests include theory of reincarnation, of spiritual journey and issues related to time and space in cinema. Special thanks to the city of Toronto, Canada for their hospitality to our production crew during the broadcast of the “Limitless Expressions” International Art Exhibition.

Published by Arttour International Publications Inc. 601 W. 174th Street S 4C New York, NY 10033 © Copyright 2012 Arttour International Magazine. © All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material is prohibited without the written permission of the magazine's publisher.






2012 Costume Colloquium III Florence, Italy 8-11 November, 2012 Program and Registration now On-line at Fondazione Romualdo Del Bianco - Life Beyond Tourism Associazione Amici della Galleria del Costume di Palazzo Pitti

Costume Colloquium III Past Dress - Future Fashion Florence, Italy 8-11 November, 2012

Stylists and designers look to the past to seek inspiration for their latest creations. We reference the past to spark our imagination for new ideas, but more often we look back to identify those timeless themes that remain valuable for the present and into the future. Therefore vintage styles, designer creations and historic fashion collections will be just some of the many topics presented at Costume Colloquium III: Past Dress Future Fashion to be held in Florence, Italy November 8-11, 2012.

Fondazione Romualdo Del Bianco - Life Beyond Tourism Associazione Amici della Galleria del Costume di Palazzo Pitti

Costume Colloquium III Past Dress - Future Fashion The international, interdisciplinary and intercultural structure of Costume Colloquium promotes a lively exchange of knowledge on a full range of ideas and interests. The conference topics and themes of Past Dress – Future Fashion are appealing to professionals and academics as well as amateurs and students and will include the following: • • • • • • • • • •

Interpreting Fashion of the Past in the Past Returning to the Future: Inspirations and Influences of Past Traditions in Fashion Today Rediscovering Historical Techniques, Tastes and Trends Collecting Fashion: Aims and Accessibility Learning from Dress Collections and Fashion Documents Conserving, Preserving and Displaying Dress and Costumes Recycling, Repurposing and Wearing Vintage and Dress of the Past Reconstructing and Reproducing Historical Clothes Dressing Performers for the Performing Arts: Designers, Creations and Fashion Registration now On-line at Program

October 2012


Participants will enjoy lectures from an impressive array of distinguished, international scholars, educators and museum specialists, creators and marketers of wearable art, conservators, re-enactors and fashion designers from many genres. The intimate atmosphere not only offers attendees the opportunity to learn about new research in the field and gain access to insider information from presentations and discussions, but also provides multiple opportunities for participants to meet and exchange ideas with experts and colleagues in an open and congenial forum. Each of the of three days of academic sessions held in Florence will culminate with a special visit and/ or reception at • the Galleria del Costume in Palazzo Pitti (installations of historic dress and contemporary fashion), • the Museo di Palazzo Davanzati (a taste of the Medieval and Renaissance past), and • the Museo Gucci (cutting edge fashion steeped in Florentine tradition) The final day features an excursion to the recently renovated Prato Textile Museum and a “handson” tour of the Giovanni Masi Vintage Archive. Costume Colloquium III: Past Dress – Future Fashion is the third in a series of bi-annual conferences dedicated to the discussion of fashion, fabric, styles, techniques, conservation and the many topics associated with dress history and contemporary costume creation, use and design. Costume Colloquium I (2008) was a tribute to renowned dress historian Janet Arnold, while Costume Colloquium II (2010) centered on themes related to Dress for Dance. The 2012 edition will focus on the broader analysis of historical styles and their influences on current and future fashion trends.

The event is part of the “90 Days of Cultural Dialogue” Programme

October 2012



P o i n t i l l i s m




"Nothing on this earth is solitary everything is connected. Pointillism allows me this exploration”

“Forest Canopy - Summer” Acrylic on Canvas “Spirit II” Acrylic on Canvas

“Forest Canopy - Springr” Acrylic on Canvas

“Forest Canopy - Winter” Acrylic on Canvas

“Forest Canopy - Autumn” Acrylic on Canvas

“The only brushstroke in my paintings is a dot: some have referred to this as a contemporary pointillist style. As the artist, I simply allow the dots to be what they are for what they need to do without regard for definitions. The motivation in my paintings is to express how much it matters for all things to be in harmony. Nothing on this earth is solitary, everything in connected: the mingling layers of dots share this meditation. The subject matter is landscape: rural and urban, as this is what we all experience in our daily lives: a common experience for everyone but not so much to capture what is seen as more to foster meditations on the unknowns in what we see.” Jim Pescott brings soothing visual meditations to the canvas. His unique pointillist journeys explore what is so often available to everyone but seldom visited in our daily frantic lifestyles. Dots fill Jim’s paintings with light, energy and love to bring the viewer precious opportunities to dwell peacefully within the image and allow calm to fill their spirit.”

Jim is available for interviews and media contact, and consultations. Calgary, Alberta, Canada Phone: 403-870-0591   Email: October 2012 8


DON’T GET LEFT BEHIND . . . STAY AHEAD OF THE COMPETITION . . . ADVERTISE AND LET THE PUBLIC KNOW WHO YOU ARE STATE OF THE ART DESIGN: It is full color, glossy high quality paper and available through galleries, high-end retail outlets, health clubs, estate agents and five star hotels. DIVERSIFY! We offer print and online advertising to maximize your results for both local, national and international audience. ONLINE ADVERTISING: Arttour International Magazine provides an online gallery featuring advertisers for the quarterly issue which will link your prospects and clients directly to your websites. COMPETITIVE ADVERTISING RATES: Arttour International Magazine offers competitive rates for hotels, galleries and those in the travel and creative industries and can offer special packages for multiple pages across one or more issues. WWW.ARTTOURINTERNATIONAL.COM


The Vatican Museums

An exhibition of love, beauty and faith by Natalia Castaldi, Rome Crowds in the Gallery of Maps on the way to the Sistine Chapel. Photography Arttour International Magazine Š Copyright 2012 All Rights Reserved

Š ine z a ag al Md n tio ve rna eser e t In sR ur ight o t t R ll Ar hy 12 A p a 20 gr oto ht Ph pyrig Co October 2012 12

Photography Arttour International Magazine Š Copyright 2012 All Rights Reserved

The Vatican Museums (Musei Vaticani) contain one of the world's greatest art collections. Housed in the richly decorated galleries and apartments of the Vatican Palace, the Vatican Museums boast the largest collection of classical sculpture in the world, plus extensive artworks from the Etruscan, Egyptian, Early Christian, Renaissance and modern periods and the magnificent Sistine Chapel. An exquisite display of art, Rome's Vatican museums are among the greatest museums in the world, displaying works collected by the Roman Catholic

Church through the centuries, including some of the most renowned classical sculptures and most important masterpieces of renaissance art in the world. From Roman and Egyptian antiquities to paintings by Leonardo da Vinci and Raphael, to the Sistine Chapel with its amazing ceiling frescoed by Michelangelo Founded by Pope Julius II in the early 16th century, the museums are visited by more than five million people every year with the highlights being Michelangelo's incomparable Sistine Chapel and the Raphael Rooms. The Vatican Museums originated as a group of sculptures collected by Pope Julius II (1503-1513) and placed in what

today is the Cortile Ottagono within the museum complex. The popes were among the first sovereigns who opened the art collections of their palaces to the public thus promoting knowledge of art history and culture. As seen today, the Vatican Museums are a complex of different pontifical museums and galleries that began under the patronage of the popes Clement XIV (1769-1774) and Pius VI (1775-1799). In fact, the Pio-Clementine Museum was named after these two popes, who set up this first major curatorial section. Later, Pius VII (1800-1823) considerably expanded the collections of Classical Antiquities, to which he added the Chiaromonti Museum Cont. Next page. October 2012



Photography Arttour International Magazine Š Copyright 2012 All Rights Reserved

Photography Arttour International Magazine Š Copyright 2012 All Rights Reserved

and the Braccio Nuovo gallery. He also enriched the Epigraphic Collection, which was conserved in the Lapidary Gallery. Gregory XVI (1831-1846) founded the Etruscan Museum (1837) with archaeological finds discovered during excavations carried out from 1828 onwards in southern Etruria. Later, he established the Egyptian Museum (1839), which houses ancient artifacts from explorations in Egypt, together with other pieces already conserved in the Vatican and in the Museo Capitolino, and the Lateran Profane Museum (1844), with statues, bas-relief sculptures and mosaics of the Roman era, which could not be adequately placed in the Vatican Palace. The Lateran Profane Museum was expanded in 1854 under Pius IX (1846-1878) with the addition of the Pio Christian

Museum. This museum is comprised of ancient sculptures (especially sarcophagi) and inscriptions with ancient Christian content. In 1910, under the pontificate of Saint Pius X (1903-1914), the Hebrew Lapidary was established. This section of the museum contains 137 inscriptions from ancient Hebrew cemeteries in Rome mostly from via Portuense and donated by the Marquisate PellegriniQuarantotti. These last collections (Gregorian Profane Museum, Pio Christian Museum and the Hebrew Lapidary) were transferred, under the pontificate of Pope John XXIII (1958-1963), from the Lateran Palace to their present building within the Vatican and inaugurated in 1970. The Museums also include the Gallery of Tapestries, a

collection of various 15th and 17th century tapestries; the Gallery of Maps, decorated under the pontificate of Gregory XIII (1572-1585) and restored by Urban VIII (1623-1644); the Sobieski Room and the Room of the Immaculate Conception; the Raphael Stanze and the Loggia, which were decorated by order of Julius II and Leo X (1513-1521); the Chapel of Nicholas V (1447-1455), painted by Fra Angelico; the Sistine Chapel, which takes the name of its founder, Pope Sixtus IV; the Borgia Apartment, where Pope Alexander VI lived until his death (1492-1503); the Vatican Pinacoteca, created under Pius XI (1922-1932) in a special building near the new entrance to the Museums; the MissionaryEthnological Museum which was founded by Pius XI in 1926, October 2012



Tapestry of the “Resurrection of Christ” (1524-31) made in Brussels based on a cartoon by Raphael's school. Photography Arttour International Magazine © Copyright 2012 All Rights Reserved

arranged on the upper floors of the Lateran Palace and later transferred, under Pope John XXIII, to the Vatican where it has been opened again to the public in the same building which housed the former Lateran collections. In 1973 the Collection of Modern and Contemporary Religious Art was added and inaugurated by Pope Paul VI (1963-1978) in the Borgia Apartment. The Vatican Historical Museum, founded in 1973 and transferred in 1987 to the Papal Apartment in the Lateran Palace, houses a series of papal portraits along with objects of the past Pontifical Military Corps and of the Pontifical Chapel and Family and historic ceremonial objects no longer in use. The Carriage and Automobile Museum is a section of the Vatican Historical Museum.

In the year 2000, the Vatican Museums opened a new large entrance that provides visitor information and other services; on display are many new artworks, two of which were specially created for this grand entrance hall. The Vatican's top sections include the Pinacoteca, Raphael Rooms and the Sistine Chapel. The Pinacoteca The Pinacoteca, or Picture Gallery, is situated in a building that dates back to 1932 and that was designed by the architect Beltrami. It is connected to the Museum complex (at the entrance of the Quattro Cancelli) by an elegant portico. A painting gallery with works by Leonardo da Vinci, Michelangelo, Raphael, Caravaggio, Giotto, Titian, Fra'

Angelico, and many more. It is considered to be one of the top painting galleries in Rome. Among the major masterpieces are Giotto's Stefaneschi Triptych (1320), a Perugino Madonna and Child with Saints (1496), Leonardo da Vinci's unfinished St. Jerome (1482), Guido Reni's Crucifixion of St. Peter (1605), and Caravaggio's Deposition from the Cross (1604). Raphael's Transfiguration. Paintings by Simone Martini, Benozzo Gozzoli, Filippo Lippi, Melozzo da Forlì, Veronese, and Il Guercino to name some of the top Renaissance and baroque artists represented here. Cont. Next page.

October 2012


ARTTOUR INTERNATIONAL OCTOBER 2012 “The Martyrdom of St. Alexander of Bergamo” Painted by Ponziano Loverini. After his glorious martyrdom, "his body was found by a noble woman of the place (St. Grata) who recognized it because of the flowers growing up from his blood." Photography Arttour International Magazine © Copyright 2012 All Rights Reserved

On of the most marvelous paintings is Raphael's “Coronation of the Virgin” (1503) and “Madonna of Foligno” (1511) surrounded by the Flemish-woven tapestries executed to the master's designs. In the center of the room hangs the young Renaissance master's greatest masterpiece, the “Transfiguration” by Raphael (1520). This 13.5foot-high masterpiece was discovered almost finished in the artist's studio when he died suddenly at the age of 37, and they say that mourners carried it through the streets of Rome during his funeral procession. The Raphael Rooms

The four Stanze di Raffaello ("Raphael's rooms") in the Palace of the Vatican are a series of papal apartments frescoed by Raphael with the School of Athens and other masterpieces, the public part of the papal apartments. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo’s ceiling frescoes in the Sistine Chapel , they are the grand fresco sequences that mark the High Renaissance in Rome. The rooms were painted in this chronological order: Room of the Segnatura in 1508-1511, Room of Heliodorus in 1511-1514, Room of the Fire in the Borgo in 1514-1517 and Room of Constantine in 1517-1524. The Room of Constantine was on the most part painted by Raphael’s pupils after the master died suddenly on April 6th, 1520. Among the most important painters of the cycle, were Giulio Romano and Francesco Penni. The episodes depicted are: the “Baptism of Constantine”, in the Basilica of St John Lateran, right of the entrance; the “Vision of the Cross” on the opposite wall; the “Battle at Milvio Bridge” on the wall opposite the windows showing Constantine with the cross that foretold his victory over the pagan Maxentius and finally, the “Donation of Constantine”, set inside St Peter’s, is on the window side of the room, showing the act which supposedly gave origin to the Church State (this actually occurred in 756, when Pippin, king of the Franks, gave the Holy See the lands of Central Italy). The ceiling was painted by Tommaso Laureti in 1585 and shows the “Triumph of Christianity” over paganism, represented by the statue that has fallen and broken. Next the visitor enters the most ancient part of the 2nd century Pontifical Palace; the Room of the Chiaroscuri was frescoed in the second decade of the 16th century using Raphael’s drawings, while the Niccolina Chapel, private chapel of Nicholas V, was painted between 1447 and 1451 by Fra Angelico, a Dominican monk devoted to miniatures, who depicted here the Stories of Saint Stephen and Saint Lawrence. The Sistine Chapel (Cappella Sistina) is the best-known chapel in the Vatican Palace, the official residence of the Pope in the Vatican City and the grand hall where the College of Cardinals meets to elect a new pope. Famous for its architecture, the chapel is completely decorated with some of the greatest Cont. page 21

October 2012


ARTTOUR INTERNATIONAL OCTOBER 2012 “The Fire in the Borgo” A painting by the workshop of the italian renaissance artist Raphael. Though it is assumed that Raphael did make the designs for the complex composition, the fresco was most likely painted by his assistant Giulio Romano. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raphaello, in the Apostolic Palaze in the vatican. It is located in the room that was named after it, the Stanza dell'incendio del Borgo ("The Room of the Fire in the Borgo").

Left: Detail of “The Fire in the Borgo” Fresco by Giulio Romano 1514 at the Raphael Rooms Photography Arttour International Magazine © Copyright 2012 All Rights Reserved

October 2012



frescoes of the Renaissance. Pope Sixtus IV had the Sistine's walls frescoed with scenes from the lives of Moses (left wall) and Jesus (right wall) by the greatest masters of the early Renaissance: Botticelli, Ghirlandaio, Perugino, Pinturicchio, Rosselli, and Signorelli. Its construction started in 1475, during the Jubilee Year proclaimed by Sixtus IV, and ended in 1483, when on August 15th the Pope solemnly inaugurated the new Chapel dedicated to Our Lady of the Assumption. The project, designed by Baccio Pontelli, included the use of a third of the height of the existing mediaeval walls. According to some scholars, the dimensions of the hall (40.23 metres in length, 13.40 metres in width and 20.70 metres in height) are copied from Solomon’s great temple in Jerusalem, which was destroyed by the Romans in 70 A.D. The main entrance to the Chapel, located opposite the small entrance used today, is preceded by the imposing Sala Regia built for papal audiences. Arched windows light the chapel, while lunettes and triangular webs join the ceiling’s barrel vault with the side walls. Under the patronage of Pope Julius II, Michelangelo painted 1,100 m2 (12,000 sq ft) of the chapel ceiling between 1508 and 1512. In 1535, at the age of 60, Michelangelo was called in to paint the entire end wall with a Last Judgment — The ceiling,

and especially “The Last Judgment" (1535–1541), is widely believed to be Michelangelo's greatest achievement in painting and the pinnacle of Renaissance painting. A masterwork of color, despair, and psychology finished in 1541.

Left: The ceiling of the Sistine Chapel - Painted by Michelangelo between 1508 and 1512, at the commission of Pope Julius II, is a cornerstone work of High Renaissance art. Below: Detail of “The Creation of Adam”

October 2012



October 2012



“The Last Judgment” A canonical fresco by the Italian Renaissance master Michelangelo executed on the altar wall of the Sistine Chapel in Vatican City. The work took four years to complete and was done between 1536 and 1541 (preparation of the altar wall began in 1535.) Michelangelo began working on it some twenty years after having finished the Sistine Chapel ceiling. The work is massive and spans the entire wall behind the altar of the Sistine Chapel. It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The souls of humans rise and descend to their fates, as judged by Christ surrounded by prominent saints including Saints Catherine of Alexandria, Peter, Lawrence, Bartholomew, Paul, Peter Simon, Sebastian, John the Baptist, and others.

Left: Visitors admiring the Sistine Chapel, on the wall “The Last Judgment” Below: Detail of “The Last Judgment” Photography Arttour International Magazine © Copyright 2012 All Rights Reserved

October 2012


“CONSCIOUS CREATION 2012” More than a Fine Art Competition, a Celebration of Art!

October 2012



CONSCIOUS CREATION recently concluded its first annual competition cycle. Sponsored by Vivid Arts Network and Arttour International Magazine the competition awarded the top ten artists chosen by the judges. Focused on the visual arts a very dynamic competition was opened to visual artists worldwide, at all stages in their career. The winning works were selected from different media that included painting, sculpture, drawing, mixed media and print. More than 480 artists submitted their most compelling works, the results and finalists blew our minds with their creations, quality of their work and mastering of their techniques. LEFT: FIRST TOP WINNER VLADIMIR RUSINOV Vladimir’s technique is wood carving. His beautiful sculptures are created with exquisite detail reminiscence of the old masters works. Traditional yet exciting creations serve as evidence of Vladimir's career dedication and level of achievement. LEFT: SECOND TOP WINNER FRANS FRENGEN Frans’ technique painting with the flame of a candle: Fumagine. His insightful paintings explore a variety of human conditions in a very expressive manner. The poses of his subjects are key to the interpretation of a piece and are often exceptionally graceful, creating breathtaking and dramatic pieces of art. RIGHT: THIRD TOP WINNER


The delicate balance of violence and grace is a continuing focus for New Jersey artist, Suzanne Anan. Her larger than life figurative oil paintings combine a subtly smooth surface with rich color and intriguing subject.

MEET THE JUDGES Joyce Fournier Artist, Curator, Gallery Director of the Studio Vogue Gallery Toronto, Canada Natalia Castaldi Fine Art Writer & Critic Editor in Chief of the Arttour International Magazine - New York, USA Alessio Rabatti Curator - Exhibitions Promotion and Planning Dpt at Auditorium al Duomo Florence, Italy Humberto Jose Orozco Publicist & Advertiser and President of Humberto Orozco Advertising & Design Barranquilla, Colombia http://

October 2012





“CONSCIOUS CREATION 2012” FINE ART COMPETITION FIRST TOP WINNER CARVED SCULPTURE MEDIA: WOOD Artist website: His beautiful sculptures are created with exquisite detail reminiscence of the old masters works. Traditional yet exciting creations serve as evidence of Vladimir's career dedication and level of achievement. Vladimir Rusinov was born in February, 20, 1960 in the Donetsk region (UKRAINE). Attended the secondary school №1 in Komsomolskij, Zmiev district of the Kharkov region 1979-1981: Urgent military service in rows USSR Army. Education :Mosc ow correspondence course of Folk University of Arts Major: Graphic arts and painting. Speciality : secondary school teacher. “I have a wonderful family: wife, son and daughter. In 2007 was born my grandson Michael. I live and work in village Liman, Zmiev district, Kharkov regions. Ukraine.”

Left Top: “Birth of Queen” - Wood Carved Sculpture Left Bottom: “Dedication to Rubens” - Wood Carved Sculpture Opposite page: “Escape of Queen from the Lock of Blua” - Wood Carved Sculpture For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012


October 2012






“Woman with Dog” - Fumagine

. . .“By making my latest work I tried to do action painting with the sparkles of my brain. I can see the action but even the moments by thinking and stopping the process. Destroying lines and figures, it’s much more than this. It gives moments of intense living and bright feeling. It takes to ecstasy. It fulfills me with the window to a precious - everybody’s natural - stone. It's a beautiful game between light and shadow. It is imbued simultaneously with innocence and foreboding, with the contrast between clarity and obscurity. I could make an installation or even a performance of this event with a head full of stickers.... And the only reasonable work of art should be the curve. “Déjà vu". So it is one way to paint with this unique fumagine media; to paint with a flame; in a more contemporary context. It is such as thinking lines

“Torso and Dog” - Fumagine

and graces. It also could be remembering Alberto’s. It is also asking for engagement to look in another direction. The work will always be living; after this rainy moment; as a simple image. But still be Frans Frengen’s.

For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012


“Woman with Veil” - Fumagine Frans’ technique painting with the flame of a candle: Fumagine. His insightful paintings explore a variety of human conditions in a very expressive manner. The poses of his subjects are key to the interpretation of a piece and are often exceptionally graceful, creating breathtaking and dramatic pieces of art. Below: Images of Frans during his creative process

October 2012






“Slowly Like Venice I’m Sinking” Oil on Canvas

The delicate balance of violence and grace is a continuing focus for New Jersey artist, Suzanne Anan. Her larger than life figurative oil paintings combine a subtly smooth surface with rich color and intriguing subject. She began her creative journey by first composing “Nature Series” floral abstractions, rife with dynamic and sensual imagery. Suzanne moved to figurative compositions with provocative subjects that often appear to spring from some sensual subconscious world. She works as a full time artist, both in fine art and graphic design. Her education includes a Master’s Degree of Art from New York University and a Bachelors of Fine Art from Kean University. She has continued her study at the Arts Students League of New York. Suzanne spent two years in Venice, Italy where she studied painting, art history and theory at the Peggy Guggenheim Museum. Suzanne designed numerous award winning pieces for clients

such as The Newark Museum and the State Theatre of New Jersey. She volunteers for several non-profit organizations as a designer and educator; including The Newark Museum, The New Jersey Performing Arts Center, State Theatre of NJ, Newark Arts Council, City Without Walls, Aljira and La Casa De Don Pedro youth organization. She is a former adjunct professor of Kean University’s Department of Design, and the former Vice President of the Art Directors Club of New Jersey. She remains devoted to the advancement of art and art education.

For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012




P O P O V (Graukch)


“Game Gallows” Oil on Canvas

Above: “Waiting Room” Oil on Canvas Below: “Stone” Oil on Canvas

“I was born into an artist family, but as a child I had no craving for painting, although every day I saw the oil paintings that had been created by my father. In my youth I took a great interest in a music and then I entered music college (classical guitar). But in my third term of college I had visited an art exhibition of Salvador Daly, whereupon I wanted to study the painting, because I was most impressed with the Surrealism. I left the music and began studying a drawing  and oil painting technique. Afterwards, a focus of my attention has moved on the Old Masters technique. Together with that and a subject matter of my art has changed. Themes of my last artworks are the essence of life: human being, hidden corners of the soul, faith and doubt, sincerity and lies, and as a result of all -  internal struggle of spirit. Often, being in situations like these, we are losing a true understanding of the reality. In my opinion it looks like derealization  symptom (the term in the field of psychiatry and neurology). That is why I define my movement as a Derealism, combining two words in it: "realism" as a representation style and

For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012






Teresa Young started painting in oils at the age of eight and expanded her skills with a strict discipline of drawing and painting. Moving from realism to abstraction and from oils to acrylics, she was able to develop techniques to create a vivid style that is detailed, visually appealing and technically disciplined. Her artwork expresses beautiful, lyrical realms of inner space using patternistic, fractal compositions that often meld abstract and surrealistic elements. Left: “Seraphic Symphony” Acrylic on Canvas

Below: “Mother Earth is Hiding” Acrylic on Canvas

“The Trickster” Acrylic on Canvas

For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012






Above: “Never Let me Go” Oil on Canvas Below: “Transcending Love” Oil on Canvas

“In the Name of Love” Oil on Canvas

For more information on the “Conscious Creation 2012” Fine Art Competition log on to

Hari Lualhati is an artist (Painter, Illustrator, Graphic Artist, Designer) born in Philippines and obtained a Degree in Fine Arts in University of the Philippines, Diliman year 2006 (Cum Laude). Hari Lualhati has worked in Manila, Hong Kong and Shenzhen China as a graphic artist and a designer and had art exhibitions there. Hari is now based in South Africa. "As an Artist, I value the techniques that I use on my art but the most important thing for me is to paint with my heart. For me, a painting is successful if it can make anyone who would look at it feel the emotion that it’s intended to give. It is like delivering a clear message by touching the hearts of the viewers. I consider my work as love made visible through art." Hari Lualhati

October 2012




Christian was born in Argentina, where he graduated from the School of Visual Arts and showed his works in solo and group shows. He has been living in New York for the last 25 years where he developed a successful career a s a d e c o r a t i v e p a i n t e r, collaborating with interior designers and architects in numerous projects worldwide, while at the same time refining his own style of painting. In his works we can dive into a universe of personal visions and feelings, where the real world blends itself with alternate realities through paintings that capture timeless themes. His search for artistic expression can be appreciated in his detail oriented renditions translated through paint into realistic representations of objects and human and abstract forms that combine to form a balance inner world in a chaotic universe.

Above: “Painting#77377” Oil Paint and Gold on Canvas Below: “Painting#44044” Oil Paint and Gold on Canvas

Below: “Painting#00900k” Oil Paint and Gold on Canvas

For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012






Above: “Season Change in the Park” Acrylic on Canvas Below: “Trees with Ideas” Acrylic on Canvas

Above: “What if Trees are Red” Acrylic on Canvas

Jim Pescott lives and creates in Calgary, Alberta, Canada. His paintings exhibit internationally including such venues as the Carrousel du Louvre in Paris, France, at the Salon 2011 and Salon 2012 presented by the Societe Nationale des Beaux-arts. Recently, the International Biennale Artists group wrote about Jim’s work at an exhibition in Dallas, Texas, as “vibrant atomistic paintings” that are “at the pulse of an international resurgence of Modernist ideals”. Earlier, Vivid Art Network and ARTtour International Magazine jointly recognized Jim for “excellence in the arts and outstanding career achievement”, describing him as “pointillism master”. In Jim’s words, “Nothing on this earth is solitary:everything is solitary. Pointillism endlessly brings me this exploration.” For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012





“CONSCIOUS CREATION 2012” FINE ART COMPETITION HONORABLE MENTION PAINTING MEDIA: DIGITAL 3D PRINT Artist website: “Immersed in the infinite universe my imagination soars I embark on my search and encounter of shapes and colors that in a certain moment will become definite into a composition that will extend that precise instant of discovery. Figures that iterate and parameters where the most insignificant change chaotically alters the shapes where shades of color uncover or hide the figures, and there are no limits. A fascinating micro and macrocosm, full of possibilities, where I’m not afraid of getting lost to reach the unrepeatable –sometimes ephemeral– instant that I cannot let escape the image also captures me, then comes the Above: “Forest Blue” Digital Print determinant decision to seize it; and the encounter is accomplished. The manipulation begins. The trapped instants are now under my domain my tools are ready I mix, combine and retouch; I determine what will rise above the one-sided dimension and what will remain in the infinite abysm; the time seems to stop and the final moment arrives. My imagination always directed towards the shapes and colors; I searched for moments, I captured them and transformed them to my liking. There is no doubt it is a great pleasure to manipulate an instant.” Below: Ave Digital Print

October 2012






For more information on the “Conscious Creation 2012” Fine Art Competition log on to

October 2012



flexible solutions for your business



“Dream with Roses” Oil on Canvas




A R T ”

By Juan David Aguilar - Colombia

October 2012



“Light Bath” Oil on Canvas

October 2012


ARTTOUR INTERNATIONAL OCTOBER 2012 “Man Lighting a cigarette II” Acrylic on Canvas

Belarmino Miranda is a Colombian painter with national and international trajectory, he is considered one of the leading exponents of female nudes and portraiture in Latin America. He was born in Medellin, Colombia in 1967. Miranda defines his artistic work with the following words: "I paint the love because it´s not afraid to reveal anything, it gives everything away. From the hand of old masters in a religious and sacred way, I worship the ancient greatness of women. True to its essence, without any concealment, I just want to capture the greatness of her body and soul, a woman who is an emblem of perfection, from beginning to end ... a fountain of life that gives meaning to my existence. " I just want to capture the greatness of her body and soul; women are an emblem of perfection, from beginning to end ... a fountain of life that gives meaning to my existence. " His works have been exhibited in countries like Colombia, United States, Canada, China, Dominican Republic, El Salvador, Venezuela, Costa Rica, and international art fairs such as Art Miami, Art Palm Beach, Las Vegas Art 21, Art Essentials – Canada, Art New York, Artbo - Bogota and Shanghai Art. His works are part of important private collections in different countries.

“Fountain” Oil on Canvas

His works have been exhibited in the United States, Canada, China, Colombia, Dominican Republic, El Salvador, Venezuela, and Costa Rica. He has participated in international art fairs such as Art Miami, Art Palm Beach, Las Vegas Art 21, Art Essentials – Canada, Art New York, Artbo - Bogota and Shanghai Art. His paintings are part of important private collections in different countries. Q/. How did you begin your artistic career? A/. At 18 years of age I felt that a door opened in my life, when I discovered that I had a talent for painting and sensitivity for the arts, it was an awakening to a magical world where dreams have their own space and ideas a place. I studied art at the CASD (Centro Auxiliar de Servicios Docentes) and the University of Antioquia, School of Arts, a wonderful institution for which I am extremely grateful. Q/. How do you define your art? A/. It is a refined technique, framed in the realism and with a large load of romanticism. Q/. How was your progress in figurative painting? A/. The human figure is the central theme in my work, and has always been present. In my early days I painted the nightlife: prostitutes, drug addicts, alcoholics. People of the night claiming a space of inclusion. They contributed strength, feeling and character when they came to be painted in an expressionist style. In that time I sought to

October 2012



make a work full of matter and with great force in color. Q/. Do you consider that your work tells a story? A/. It tells the story of my life. I paint the people I love, the spaces where I live, what I feel and think. Q/. What does it mean to you the phrase "Just love and art"? A/. Love is the greatest thing we have, it´s the creative force, the essence, it´s the way. With art I have the best pretext to maintain a continuous search and sublime of the beauty, because in art converges the highest thoughts and expressions of the human being; it´s the air I breathe. For this reason in my life, "Just love and art." Q./ Tell us how is a day in your study? “Accolades” A /. Begins very earlyOil in on theCanvas morning, I give thanks for the "gift" of a perfect new day where I can think, paint, or just simply enjoy the work that I am working on. I love the contemplation stage, because through it I discover the soul of the work, which is beyond what is being represented, is the very essence claiming its space and I fall in love with it. It is a parallel and magic world in which I am aware that I only participate as a means to make the beauty emerge and continue its creation process. Q/. How do you conceptualize your work? A/. With the constant observation of everyday life, with the relentless pursuit of beauty and a permanent spiritual awareness. Q/. What has been the muse of inspiration and why the female body is the main element in your work? A/. The woman as an emblem of perfection has been constant in my work. I have had several muses, all important in my life: my daughter, my wife, dear friends, -my great battles mates-. But what matters is not whom I paint, but what they symbolize... every woman I paint is an icon that represents the essence and the ancient grandeur of its kind: "In one I see them all", this is why I seek to paint the ineffable of her soul, her essence: the breath of life in which all of them feel

“Shawl” Oil on Canvas

represented, identified, respected and loved. Q/. What inspired you in your a series of paintings “Fountain” or “Light baths”? A/. “Fountain” is a series inspired by Ophelia from Shakespeare, in this masterful piece, the writer introduces us to the fragile and in love Ophelia, surrounding herself with flowers in a damp tomb, - women and water together forever. This act is considered as the ultimate reference for women and unsurpassed self-sacrificing and maddened by love, to show the perfect devotion to his beloved, satisfying the greatest fantasies of men. “Light baths” is a series that emerged from the observation of everyday life and the beautiful act of taking a bath, which through the ages remains a habit in which

cleanliness, purity, "the light" ... is the intrinsic purpose, spiritual, real and profound of this ritual. Q/. Does your childhood or adolescence marked spaces that are reflected in your work? A/. During my adolescence I studied in a catholic seminar, surrounded by religious icons and rituals that brought to my life, serenity, silence, spirituality, and I see it reflected in my work. Q/. Your work evokes a fascination for portraits. How do you explain it? A/. The truth is that they captivated me even more when I understood that men through the ages had felt a fascination with themselves being portrayed, and even more since the Renaissance when men turned their eyes towards themselves and they stopped seeing

October 2012



Above: Master Belarmino Miranda Montoya


themselves as a reference to God, taking conscious of the "self being", of the person and personality. The concept and the way of seeing themselves changed and they become the center of the universe. For many today it is a matter of vanity, but a portrait has deeper realities, "portrait" is trying to "be" again, is to have another opportunity to "be" like in The Picture of Dorian Gray; I must take into account the psychology, personality, beauty and accuracy in the representation, to apprehend the person and give birth to the character, so when I paint a portrait, I wait patiently for the visit of the real being in order to capture de essence and freeze it forever in the art work. Q/.What has influenced your work and which artists have influenced you the most? A/. What has most influenced my work is the presence of women as the pillars of humanity: "Women sacrificed through time", that was my North at the time of composing. Francisco de Goya and Johannes Vermeer are artists that struck me when I discovered them: Goya for his rebel treatment, expressive and vital in his works, especially in dark times, it was the first contact I had with art, through a small book that came to my hand by fate. Around the same

time I discovered Vermeer, it captivated me the way he elevated everyday things to a sublime level, bourgeois and refined, the exquisite treatment of light and a great respect for women in his compositions, making her the protagonist in a big part of his work. Q/. Insiders consider you a great exponent of figurative painting, especially for the detailed and refined treatment of the female nude, what can you tell us? A/. It is only the fruit of a hard and honest work, filled with love and passion in order to try to capture day after day the way I see and feel the art, I know that staying true to good figurative painting and by making women the theme and focus of my work, I can be outside of avant-garde currents of the moment. I accept with respect all sorts of criticism and comments about my work, but try to stand apart from them to continue unabated in my creative process.  Q/. What advice would you give to the artists who are starting out and looking for a place in the international art scene? A/. Do not forget to take high quality photographs of the works they make, I advise them to leave this

task to a professional photographer. Keep in mind that with no high quality images, there are no possibilities to produce good publications that will help them get noticed, it is also important to keep a record and certify every art work, there are companies that provide this service online. Remember that it´s not only having talent, mastering a technique and painting with love and dedication that is enough, we must be aware that every artist is a business and it should be handled as such. Having the support of a manager or representative is critical in our career, especially in these times of globalization. Q/. In 2011 two of your works were awarded an honorable mention in an art exhibition. What is this work and what it represents? A/. There were two works I exhibited entitled: “Tag photo” and “Change photo” from the Social Media Series. These works received an honorable mention in the last room of Visual Arts in Medellin, Colombia. They are two very realistic portraits of women with a speech on them in which the viewer is as if he had entered their Facebook account and was ready to tag a photo or change the profile photo. Q/. You are conducting studies in Museology and Curatorship, what motivated you to do it? A/. I was motivated by the importance of understanding the dynamics of museums as centers of research and legitimizing culture in a community. Knowing the museological and curatorial processes has given me a broader view of management and conservation of collections in major non-profit institutions. Learn to curate and to exhibit is something that will help me when preparing an exhibition of my own works. Master Belarmino Miranda lives and creates in Medellin, Colombia. He is an international contemporary figurative master artist. For further information:

October 2012


May 2012




ay d


Photography: Hayden Diaz © Copyright All Rights Reserved


ía z-



Yo r


October 2012



Photography: Hayden Diaz Art by Sean Ryan © Copyright All Rights Reserved

Brooklyn has been thrown all sorts of insults and praises, from "The Borough of Churches" to "The Decaying Borough," but there are certain things that cannot be disputed. Like the fact that Brooklyn is the most densely populated borough in New York City and the second most densely populated county in all of the United States. Walking through the borough's myriad neighborhoods, an eclectic and erratic canvas of humanity is palpable through every corner. Whether you decide to take the archaic bricks that make up Brooklyn as symbols of it's historic wealth and the potential of its cutting-edge future, or as emblems of a borough long in decline and under the shadows of Manhattan, one thing is certain: there are few places like Brooklyn in the world. I won't inconvenience you with any further demographic evidence of Brooklyn's vastness (did you know Brooklyn is home

to over 176 different languages?) and instead speak from first-hand experience. As I type this, I sit at a café in my now home neighborhood of Williamsburg, right on the corner of Lorimer Street and Grand Street. Yes, Brooklyn is also one of the only places on earth where a street intersects a street. Apparently, the Dutch–founders of the once independent city–weren't very fond of avenues. Back to my personal experience: an American punk-rocker serves my coffee as a couple of Asians girls dressed in haute couture wait behind me. As I take a sit, a blonde Rastaman reads a book to my left, he is accompanied by another Rastaman–that one is black. To my right, on a table by the window, a bearded, gay couple goes over a portfolio and discusses artist statements. Behind me sits another Hispanic– the other one is me–with audiophile headphones examining recorded tracks. This picturesque scene can be lazily

described as "the hipster scene." Hipster, emphasis must fall on that word because the term has been coined, and has begun to be used derivatively, to describe the latest cultural wave sweeping over New York. Many consider them a nuisance, many the reason why Brooklyn is "the next Manhattan." Whatever the perception might be, they are responsible for one of those things that cannot be disputed: Brooklyn is home to more artists than anywhere in the world– making the borough a major, loud, relentless, multinational, multiethnic, global artistic capital. That last indisputable fact is the one that the Brooklyn Museum (home to the second largest public art collection in the United States) is banking on. While many might not like hipsters and their bikes, their studios and their intensive expressionism–like the Brooklyn Museum–the world has been noticing them for a while now. October 2012



Hence, the Brooklyn Museum has created GO: a communitycurated open studio project. From 11:00 am to 7:00 pm, on the second Saturday and Sunday of September, registered artist opened their private working spaces to the public. So it was that one of the world's biggest artistic homes became the world's biggest open studio exhibition. 251 square kilometers were converted into a space where artists showcased their work for two full days. From all the registered artists, a handful will be selected for a curated exhibition at the Brooklyn Museum, the Target First Saturday, taking place on December 1st. And who gets to choose those lucky artists? We do. By voting online or through the impressive app prepared specifically for GO, each person who visited five studios or more is entitled to nominate three artists for the exhibition this winter. Although the weather was kinder than it was in August, the heat still permeated through the urban jungle that is Brooklyn. So it was that armed with nothing more than my iPhone, I began an urban expedition under the almost fair weather of September's second Sunday. Deciding that it was best to begin with the studios that were nearest me, I crossed the street and ventured forth into Kim Schneider's studio. Now, before I go further, allow me to put Williamsburg, Brooklyn into perspective. This is a neighborhood where Hassidic Jews walk in full ceremonial robes as they come and go from service as scantly dressed artists ride their bicycles on their way to a show or a good night's drink and throngs of Caribbean families use the cluttered public streets as recreation areas. This

boggling paradox is the daily bread in Williamsburg. To say that the GPS on my phone was helpful is a gross understatement. Kim's studio was to be found on an unassuming street where the Hebrew sings didn't point towards any artistic residence (not that I read Hebrew, this was more of a “gut-feeling�). As I walked to the specified address, a small poster with the GO branding beckoned me to descend a set of stairs that, upon inspection, was strewn with golden glitter. I was at an artist's studio. I had arrived at what Kim would later call, her "lil' glitter work station." As I stepped down towards the building's basement, I realized what an intimate experience this would be. This

was not a show the artists had prepared, this was them opening the doors to the space where they work and live. This was them saying: "everyone and anyone, enter and see where I sleep, where I do my life's work!" Noticing that I was unsure if I was supposed to enter her basement apartment, Kim warmly welcomed me with Israeli hospitality. (Disclaimer: she would more likely be seen in a bicycle than in robes). After discussing the strangeness of the GO concept, we got to talking about her art which is mainly sculpted mixed media and craft. Intensively influenced by middleeastern aesthetics, her pieces hanged at unorthodox places and quirky angles. Cont. Next Page

October 2012



The attention to detail in her stuff was enthralling but not pretentious. The texturing that each piece showcased as it blended colors and materials was whimsical in the kind of way that temples are depicted in fairy-tales of lands among desserts. Several of her pieces were meant to be used in performance arts so that a theatricality permeated her tiny studio. Puppets that seemed caught in a threshold between One Thousand and One Nights and the unfulfilled fantasies of Lewis Carroll decorated parts of the ceiling. Pieces that reminded me of things I had only before seen in the ancient market of Damascus, Syria called my attention primarily. Her craft displayed an ability to fuse middle-eastern folk art with modern aesthetics seamlessly. Her inspirations, acquired as a resident of Israel and Brooklyn, seemed fully internalized and not posed. The result was an exotic array of manikin-like figures one could only encounter in dreams– or her studio. After jutting down the "artist number" that GO assigns to each artist and that allows visitors to vote, I began to leave. Once I had been informed of an artists gathering happening the next day in a garden that is reached through the basement (another only-in-Brooklyn kind of thing) I proceeded to the next artist in my itinerary. Also nestled in a quiet industrial street, Remy Gierke's studio seemed to be the only place on the block that was not a repair shop or warehouse. Entering his space was a bit less arcane. Not only because it didn't seem as intimate as a basement but because the pieces of his work were hanged in a more geometrical order, so that one

Photography: Hayden Diaz Art by Alison Kue © Copyright All Rights Reserved

could examine them as one would in a gallery. Originally a sculptor, Remy had strayed away from sculpting and instead displayed some video pieces accompanied by some drawings that were interestingly discolored after being finished. The two video installations captured my attention immediately. The first– perhaps an homage to his sculpturing background–was of a man with outlandishly textured skin whose head was on fire with what seemed to be birthday candles. The video played almost like a moving painting and, ingeniously in front of the tv, he had placed a piece of paper with a short printed text. The text called attention to the space and to the very thing one was experiencing at the moment, thus breaking a strange fourth wall–a first for me in the visual arts. The second video, not as richly textured as the first but made interesting by its intense "analog" feel, was found in the farthest corner of the room. Looking at it provided a strange visage into a

time before digital videography. The seemingly contradictory images of a man shaving as his silhouette was converted into a nest of crawling ants, made for an interesting displaced emotion: disgust, wonder, nostalgia? I'll write it down when I put my finger on it... After having a few words with the rather meek Remy about his work, I continued my studio itinerary. Alison Kuo's studio was not as challenging to find since it faced the loud, cracking tracks of the brown train lines that cross Brooklyn. However, the five flights of steps one needed to ascend before reaching it were another reminder that once more, I was going into someone's home. Entering the apartment at the building's top floor, I was greeted by a group of artists having lunch in a communal kitchen. As it turned out, this was not only Alison's studio, other artists resided there as well and had (as I would find out later from Alison) dubbed the creative/living space "The

October 2012


Photography: Hayden Diaz Art by Marina Gutierrez © Copyright All Rights Reserved

Darling House." The Asian artist showed me the way into the space prepared for GO. As I entered the room, I found out what it would be like if one grabbed a childhood memory, shattered it into pieces and was then able to drink it as some sort of antidote that would reproduce fragments of the toys I once played with. Was that last sentence too long? In short: it was surreal. Entering her space provided an exercise in visual contamination–that's a positive thing by the way. The colors, the textures, the ideas all cluttered the room's every inch so much so that it took several minutes before I could possibly concentrate into a single piece of work. Once the initial visual shock was overcome, a table at the center of the room covered in food pictures dating back to the 50's and 60's stole my attention. It was while looking at said table that I finally put my finger on what was so unsettling about the room, the antique images and objects covering the room reminded me–strangely so– of my grandfather's house in Bogotá, Colombia, a house that

seemed to freeze in 1968. The most visually interesting corner of the room, however, was home to an installation that defiantly contradicted every principle of minimalism and seemed to redefine "cluttered ornamentation," an impression that Alison would later confirm was her intension. After being invited to return to the psychedelic "Darling House" for other shows and exhibitions, I made my way further west into Williamsburg. In the area where Williamsburg becomes more densely populated as more bars, restaurants and shops line its streets, I arrived at Marina Gutierrez's studio, also in a top floor. Upon entering her diminutive space, I heard several conversations occurring and realized I was just one of the several people who had just entered her studio. Marina, who is half Puerto Rican, half Croatian is a seasoned artist heavily invested in didactic art and activism. So it was that her pieces, composed mainly of mixed media and installations, were as much

dedicated to aesthetics as to the impact they will have on the viewer’s perception and relation to the environment. She is currently invested in a project she is preparing at Governors Island, a small island off the coast of New York City where she is exploring the aesthetic and–perhaps more importantly–the politics of water. The most interesting piece exhibited in her studio was a panel composed of four different sections, each representing an embodiment of our relation with water. The most striking section being the second one where a long and black mane is carried across as if in lake. After having a lengthy and stimulating conversation with her about her projects and her sociopolitical and historical motivations to conduct them, she asked all of us in the room to take a survey. The survey was accompanied by a set of images intended to evoke free associations and define our relationships to something that we in developed countries take for granted but that will be an alarmingly scarce commodity in mere decades: water. Having misjudged how long I would take at each artist's studio and having spoken to Marina about her green artistry longer than I had realized, I was way behind schedule and realized I would only be able to go to one more open studio. My plans to leave Williamsburg and visit other artists in a different neighborhood of Brooklyn had to be trashed. Running to the last studio in my itinerary, as I navigated the nonsensical and at times "avenueless" streets of Williamsburg by foot, my once smart phone died. Sean Ryan's Cont. Next Page

October 2012



studio had been mistakenly placed on the mobile app's map and I had been guided to the wrong crossing. So it was that with 5 minutes to go before 7:00 pm, I did what I had meant to do since moving to New York: I made a call from the disappearing pay-phones that were once the main form of communication for the Brooklynites who found themselves in the streets before the advent of cellular phones. After receiving the proper coordinates from a friend as someone would have in the time when it was not possible to carry a computer in the pocket , I ran towards Sean Ryan's studio, ten “Accolades” Oil on Canvas minutes past 7:00pm. After ringing the intercom to be allowed into the building, Sean was gracious enough to buzz me in and welcome me into his studio apartment. Had I not previously overcome the inhibitions generated when entering a stranger's home to look at art, this would have been the most awkward of my visits. Not only was I requesting to enter afterhours, I had just interrupted Sean's dinner. Nevertheless, this being my fifth and last visit, I swallowed any doubts to enter and after apologizing for the tardiness, accessed Sean's space. My first words to Sean as I beheld his pieces: "you've got incredible technique." Sean was the first and only artist of my excursion that didn't necessarily preoccupy himself with a piece's relation to the viewer but rather the beauty that can be charged on a canvas. Sean is the kind of painting artist whose golden days were left in the renaissance. His pieces were ethereal depictions of the lines and colors found in urban Brooklyn–where he now lives–and coastal Jersey–where he grew up.

Reminiscent of such artists like Edward Hopper, Mr. Ryan's paintings refrain from using human objects and instead depict the urban settings in tranquil, reflective, sentimental–yet forlorn–strokes. After talking about his art a bit more in depth, it was clear that his painted visages all stemmed from deeply personal instants of inspirations, the kind of fleeting inspirations that fills one's soul–his filled the canvas. One piece captured my imagination stronger that the others: a depiction of the view his top-floor apartment once granted him on a rainy Brooklyn evening. The glare, the masked shadows, the somber walls of the street were all evoked clearer than they would be in a photograph. Sean Ryan's paintings are not about the spaces filled but rather about the spaces left empty. They don't display a human soul in them and so are endowed with a soul of their own, perhaps the soul we each bestow unto them as we stand mesmerized in front of them. Contemporary art is not (as it once was) about the elevated technique an artist can display, but Sean demonstrates how much technique–when honed into careful expression–can inspire. Glad that I had interrupted his dinner and rang the bell albeit my tardiness, I thanked Sean for having me and ventured forth into the north side of Williamsburg for drinks. As I sat waiting for the bartender to finish pouring me a cold pint of Brooklyn Lager and the glass slowly became full of the thick brew, I mused over the day I had just had. As I raised the now golden pint glass and the foamy head exploded with the meticulously brewed barley that now played with my nose, I kept

Photography: Hayden Diaz Art: “African Mask” by Kim Schneider © Copyright All Rights Reserved

thinking. As my mouth was invaded by the pointedly sweet brew that is balanced by the subtle bitterness of the carefully measured hops, I kept pondering. As I put my glass down and swallowed the fresh brew, I thought: say what you will about Brooklyn, if you want to see where the next wave of creativity will take this world, if you want to be a part of it and know what it is before you read it in books, you must come here and live with them hipsters–I mean, with us hipsters. You couldn’t brew this brew anywhere but here. Disclaimer, the Brooklyn Lager bit was not product placement–it really is that good of a thing, one of the many in Brooklyn. For info contact:

October 2012


Photography Arttour International Magazine Š Copyright 2012 All Rights Reserved



by Cody LaVada, New York


Photography Arttour International Magazine © Copyright 2012 All Rights Reserved

The exhibition ran from July 17th to the 29th and boasted an impressive roster of 22 national and international artists whose work awed everyone who walked through the doors and was as variegated and brilliant as the wonderful city itself.

Vivid Arts Network recently had the opportunity to travel to Canada and be involved in the “Limitless Expressions” exhibition at the Studio Vogue Gallery in Toronto. The exhibition ran from July 17th to the 29th and boasted an impressive roster of 22 national and international artists whose work awed everyone who walked through the doors and was as variegated and brilliant as the wonderful city itself. This collaboration partnered the wonderful Studio Vogue Gallery with Vivid Arts Network in an ongoing effort to impact the world through the virtuosity of art. Studio Vogue Gallery was created in 2008 by Joyce Fournier to promote her artwork and assist other artists with their growing careers. It is located in Yorkville one of the most established art

districts in Canada and has been presenting the staggering works of artists for over four years. During the Symphony of Colors exhibit in Florence, Italy in the winter of 2011, Joyce Fournier had her first involvement with Vivid Arts Network, where she met the Artistic Director, Viviana Puello. Vivid Arts Network is an organization of nearly 150 artists that helps to facilitate the careers of artists and, in doing so, promotes awareness about various global issues. After having been impressed with one another, Puello and Fournier agreed to collaborate – and the “Limitless Expressions” exhibition was created. Since most of the exhibitions hosted by Vivid Arts Network are held to bring about public awareness of a certain cause or issue, the tragic earthquake in Ferrara, Italy inspired the theme for the collaboration between Vivid Arts Network and Studio Vogue. A majority of the proceeds were designated to helping the 20,000 homeless victims of the 6.0 magnitude earthquake in Emilia Romagna that took place earlier this year during the “Earth Vortices” display and left much of the area in ruin.

The “Limitless Expressions” exhibition had an incredible turnout throughout the thirteen days that it was open, and the gala opening on July 19th was attended by Joyce Fournier, Viviana Puello, numerous artists whose works were exhibited in the gallery, along with a video crew including Cody LaVada (ArtTour International managing editor and writer) and Dean Albertini (a contributing writer). They worked closely alongside the artists to conduct their “Art 2 Heart” interviews and gain insight into the minds of the creative souls who were exhibited in the gallery – learning about their creative processes, their influences and inspirations. Out of the 22 artists involved in the exhibition, six were present during the opening reception to collaborate with Studio Vogue Gallery and Vivid Arts Network. These artists traveled from around the world to be a part of “Limitless Expressions” in Toronto and their contributions (as well as those of the artists unable to attend) were greatly appreciated by both the companies and the art enthusiasts who came for the gala opening. Two native Canadian artists were displayed at the gallery and present for the gala opening:

October 2012


ARTTOUR INTERNATIONAL OCTOBER 2012 Above Artists during the “Art 2 Heart” interviews. Left (Top) Deen Albertini interviews Canadian Pointillism Master Jim Pescott who received a Career Achievement Award on behalf of Vivid Arts Network during the opening reception, and artist Armando Cabba (Bottom). Right: (Top) Cody LaVada interviews artists Steffie Wallace from Australia and Holly Suzanne from the US (bottom). Photography Arttour International Magazine © Copyright 2012 All Rights Reserved

Armando Cabba and Jim Pescott – artists with vastly different techniques but amazing talent nonetheless. Armando Cabba describes his style as contemporary realism, and his paintings are a beautiful marriage of the delicate composition of realistic figures beneath a veil of mystery. His work “Sorry” is done in oil and wine on canvas and depicts a seated man, his features obscured by tear-like rivulets. Other works, such as the portrait “Kim” show a beautifully life-like portrait of a woman from afar. Once you get close to Cabba’s work, you can inspect each brushstroke and detail and see how the artist uses his paints to create fantastic likenesses of the real world. Jim Pescott was also in attendance. A world-renowned painter who has appeared in

numerous shows around the globe and been awarded multiple times, Pescott’s masterpieces depict simple landscapes and vistas exploding with rich colors when looked at from afar – but up close, you get acquainted with the true genius of this painter, for each of his works are crafted by a series of dots of color applied in various patterns which, from a distance, come together and trick your eye into forming a whole image. Pescott’s works are predominantly sceneries that express the extremities of the seasons: autumn trees exploding with red and gold foliage, dead winter trees heavy with their burden of bluishwhite snow drifts, spring trees in full blossom as they welcome in new life. While Jim’s style is most commonly referred to as pointillism, he refers to it as Cont. Next page.

“McDonnell Ranges” Acrylic on Canvas by Steffie Wallace.

October 2012



“pointillism,” coining his own unique term for a style that he continues to pioneer and cleverly alter as his career moves on. In honor of his incredible successes over the past two decades, Jim Pescott received a career achievement plaque as a token of appreciation and recognition from his fellow artists and fans on behalf of Vivid Arts Network. The award was presented to him during the opening reception. Holly Suzanne, an artist from the USA, had her wonderful mixed media pieces displayed at the exhibit – a synergistic union of abstract and figurative works inspired by the beauty of fashion and the elegant slopes and curves of the female anatomy. Her paintings such as “Blue Sway” and “Fire Dance” evoke mental images of sensual movement; the backgrounds are entirely solid, with an explosion of vibrant color and design contained within the silhouette and outline of vaguely-female figures posed in chaotic movement. Suzanne has won several awards and been exhibited all over the world, and draws much inspiration from her husband with whom she shares a studio, working in unison to inspire one another in the spirit of ekphrasis. If the vast exchange of culture and artistic talent was not already thriving enough within the space of the Studio Vogue Gallery, there were artists from other continents to add to the swirling tempest of creative fervor. Kishore M. Sali is an artist from India who was at the reception to showcase his moving artistic creations. Despite being renowned as one of the top advertising photographers in India, Sali’s love of painting has never waned; his pieces are

created to uplift the spirit in these depressing times, depicting the joyous activities of dance, yoga, and meditation. He is inspired by the concept of the aura, which he vividly illustrates as radiating out from the human form, setting his canvases ablaze with an orchestra of colors that one can almost feel giving off passionate heat and warming the soul. Also from another corner of the globe was Australian landscape painter Steffie Wallace. Wallace’s canvases are a barrage of earthy shades and hues executed brilliantly in acrylic. Influenced by the turbulent and ever-changing climatic and atmospheric conditions of her native land, Wallace creates masterpieces that reflect the unpredictable will of Mother Nature, contrasting the immensity of the overcast skies, heavy and pregnant with storm, against the miniscule outback and desert of the land she lives in. Her paintings portray wild waves and barren littoral zones, highlighting the beauty and grandeur of her mysterious homeland so strikingly that you can almost hear the water crashing on the rocks and feel its spray. Also in attendance was a representative of the office of the Mayor of Toronto, Rob Ford, and the Toronto City Council who presented Vivid Arts Network with a congratulatory plaque in honor of its first Canadian exhibition on behalf of the City Council. Vivid Arts Network was honored to have been given such a defining commemoration and to have been welcomed so warmly into the beautiful city with its myriad of cultures and thriving art scene. The exquisite Yorkville area was

Above: “Trophy Wife” Sculpture by Cheri Mittermaier from the USA Below: “Red Inferno Series” Oil on Canvas by Vigo Carlsen from Sweden

October 2012



the perfect place to combine the arts with the humanities and give birth to the “Limitless Expressions” exhibition, whose core goal was changing the world through the beauty of art and the passion of the artists involved. The “Limitless Expressions” exhibition was truly a fantastic success and experience for all involved; every art aficionado who walked through the doors was exposed to an array of techniques and beautiful pieces, while the artists who collaborated were able to acquaint themselves and be inspired by fellow creative souls. It is suiting that the exhibit took place in an area as striking and cultured as Toronto; such a grand partnership will hopefully result in many more associations between Vivid Arts Network and the wonderful Studio Vogue Gallery. The exhibition’s name lived up to its expectations, demonstrating that there truly is no limit to the channels through which one can express oneself through the give of art: they reach out into infinity and through our artistic conceptions, we change and influence lives – and become infinite.

From left to right: Australian Artist Steffie Wallace and Canadian Artist Lida Van Bers during the presentation of the exhibition.

From left to right: Arttour International Magazine US Writer Cody LaVada, Vivid Arts Network Director Viviana Puello, Studio Vogue Gallery Director Joyce Fournier and Arttour International Magazine Canadian Writer Deen Albertini.

“The exhibition’s name lived up to its expectations, demonstrating that there truly is no limit to the channels through which one can express oneself through the gift of art: they reach out into infinity and through our artistic conceptions, we change and influence lives – and become infinite.” Watch our broadcast of this exhibition at the Online Broadcasting Channel

Vivid Arts Network is presented with a congratulatory plaque from the office of the Mayor of Toronto Rob Ford and the Toronto City Council.

October 2012



Orchid V, Oil on Canvas


October 2012


These pages celebrate what it means to be alive…ecstatic, challenging, painful, intense or sublime…it is the stuff of myth and legend as we experience it in our ordinary lives. These pictures are my attempt to see the luminosity of this experience. I would like to thank the extraordinary people who have made this work with me. I was born in New York City in 1954 and moved to Ireland in 1966. In Trinity College, Dublin I studied English Literature and History. I developed an abiding love for both and have since come to see these as an essential part of my artistic training. The words of poetry and drama require of us to paint our own imaginary pictures. History gave me a sense of the bigger picture.For the remainder of my 20s I worked in printing and publishing. I began painting full time in 1985, making three dimensional work in 1989 and photo-based work in 1998. In the last decade, I have spent much of my time swopping stories with the people I photograph. We try to collaboratively realize common symbolic elements in our shared inner landscapes. The images often have a mythic  quality to them. This is because I believe we should see our lives as epic adventures and our struggles as heroic.

“For me it is important that my work is poetic and dramatic in conception as well as “realist” in execution. All my work, including the photographic work, is based on regular and frequent drawing from life.”

Aesthetic My study of literature at Trinity has informed my work by teaching me the depth that can be achieved through poetic suggestion and the power of drama to affect “aesthetic arrest”. For me it is important that my work is poetic and dramatic in conception as well as “realist” in execution. All my work, including the photographic work, is based on regular and frequent drawing from life. Typically, I approach a painting by exploring the subject through doing a lot of drawing and

October 2012



“With each piece of work I am hoping to contribute something to a new iconography of the human condition in the 21st century.” taking a few dozen photos. The drawing is transferred to the canvas or panel and then the painting is built up with near-transparent glazes. My work with colour separations during my time in the printing industry gave me this viewpoint on the building up of and “cross-hatching” of layers of colour. My painting aesthetic in turn has influenced the way I work with photographic material. I approach photographic composition and colour as a painter

rather than as a graphic technician. Colour and tone are worked using similar techniques to the glaze techniques I use in painting. My sculptural work grew out of my painting and much of the three dimensional work is painted or wall mounted. The preparation of a piece of sculpture involves the same explorations through drawings and photos.

Subjects and Themes My primary concern as an artist is to explore the psychological and spiritual stories that unfold in all our lives. In much of my work I have engaged the people that I am painting or photographing directly in exploration of the things that have shaped their lives. The dialogue begins verbally and moves into October 2012


ARTTOUR INTERNATIONAL OCTOBER 2012 visual language as we explore settings, symbolism, dreams, visions and colour. I have been privileged to hear the stories of what Joseph Campbell calls “the hero’s journey”, a remarkable inner journey made by many people in seemingly everyday lives. My work strives to reveal something of this invisible world. Mythology has played a role for millennia in telling the stories of a society’s shared experiences and highest hopes. Such stories no longer play an important role in western society to the extent that the word “myth” has come to mean something that is untrue but widely believed. Myths are fantastic stories with demons, magicians, ogres and supernaturally gifted people. They are the stories of inner demons, the magic of being alive and inner

grace. I attempt to see how the age-old mythic themes are being acted out in the people around me and in myself. However I also see new stories arising out of our shared contemporary experience that are important to tell. With each piece of work I am hoping to contribute something to a new iconography of the human condition in the 21st century. The visual idioms I use are symbolism, metaphor and dramatic narrative. As a 56 year old father of three adult children, I am particularly drawn to the myths of: birth, the struggle to be true to oneself and continuous renewal. For more information on Doug’s artwork please visit

October 2012



“THE FOUNTAINHEAD GALLERY” PART III A Fiction by Yadira Roman - New York Amalina sits in her car contemplating whether or not she should enter the gallery.She looks up at the rearview mirror of her ever so enchanting Buick and rolls her eyes; twenty minutes had passed and she remained glued onto her seat. It’s as if the logical portion of her brain was holding her back from entering her recently discovered paradise; but she wanted to feel high again. Her thoughts are interrupted as she notices all the lights in the gallery light up room after room. Amalina sets her eyes on the front porch of the gallery and reminisces about the days her mother had spent obsessively designing it. The screened porch was created as a sanctuary, a place to retreat and be enveloped by nature in a calm, relaxing environment. The monochromatic scheme helped to achieve this quiet mood while the pop of color came solely from the surrounding trees. The hits of black helped to move your eye around the room and provide a sophisticated feel. Three distinct zones were created to eat, converse and lounge with the help of area rugs, custom lighting and unique furniture. She groans as this sweet memory is interrupted by chanting and screams echoing throughout the gallery. Slowly pulling herself off her seat she swiftly jumps out of her afraid she will change her mind abruptly. Within seconds of Amalina having gotten out of her car she hears a loud crack come from her right followed by glass and a

bucket of paint rocketing right into her car. ‘What the hell!” Amalina growls with irritation and no longer feels anything holding her back from the gallery. She storms her way in only to find all the residents of the gallery gathered around an elderly woman. The being she had seen the last time is there as well; her eye burn when she looks his way, she turns her head and greets the residents. All the paintings and sculptures seem to be giving out welcoming vibrations. “Amalina! How art thou?” Welcomes the elderly woman. “And you would be?” questions Amalina in a defensive manner. “Oh sweet child I am Cafri, an old friend of your mothers, it is a pleasure to finally meet you.” Responds the older woman with a loving smile. Cafri has square toes, a long pointy nose, long fingers with harsh looking sharp nails that curl at the ends and she is dressed in mauve. She clearly appears to be a woman aside from the long lavender beard covering her chin. “My mother? What do you know about my mother? And what business do you have here at this time? Cafri smiles at Amalina’s question,” Business? Why I am here only to join the festivities of the Fountainhead. It is time for you to join us as well; we have been waiting.” Once again Amalina’s logic attempted to reason her into questioning this woman, demanding her for a valid explanation; yet the feelings she was receiving from the fellow being made her unaware of how to logically react. She knew she felt October 2012



love, she felt her mother. Amalina smiles at Cafri and pulls her in for a warm hug. “A friend of my mothers is a friend of mine.” Cafri smiles as the residents in the gallery begin to chant joyously. “ This my all seem surreal, but I promise you darling, it is the first taste of reality you have yet to receive. Now come with me darling there is something you must see. Cafri grabs Amalina’s hand and leads her to the back room where her mother always kept Malaysian artifacts. She had never spent much time there; once her mother deceased she ceased to venture through the Fountainhead. During their open hours she remained asleep on her desk while staff would stop by every few days to clean the place up. As she entered the room she was quickly blinded by a purple light. In her attempts to open her eyes she felt a warm fuzz tingle her nose. “ Just keep your eyes closed for a moment Amalina, we must remove the shade that blinds you in order for you to see the truth”. Amalina did not question the unfamiliar voice. She kept her eyes closed and began to feel the high she had last felt during her visit to the gallery. She could feel dozens of fingers tracing through her hair. “ Do not open your eyes, they will burn. Just listen there is something you must know” ordered Cafri. “ Your mother was in search of the palaranik key; we know no good of her where abouts. In order for our world to be saved you must find your mother Amalina, only you have the power and mind to find her.” Amalina had the urge to open her eyes but felt a strong burn when she tried. “What do you mean my mother’s where abouts! My mother is dead! I saw her, I saw her in her casket! Is this some sort of hoax?!’’ Amalina jumps up with her hands in front of her , guiding her way out of the room. She tries brushing off all the fingers poking at her body; furiously storming away Amalina feels Cafri wrap her arms around her with a tight grip. “Amalina listen to me, you must understand you were deceived. We had to make it appear as if she were dead, we couldn’t have the wrong people coming into the Fountainhead and destroying our source. Our only source of knowledge lies here Amalina! We need you!”. Cafri did not loosen her grip. Amalina could feel Cafri slowly manipulating her senses in order to calm her down. This feeling was familiar, it was what her mother would do to Amalina each time a hint of sadness or anger was revealed through her eyes. Amalina could not fight the tears forming in her heart as well as her eyes. She would give anything to open her eyes and burn her with the very anger she held inside. “ Please tell me what the hell is happening?’’ Begged Amalina as she threw herself onto the floating ground

bringing Cafri down with her. Cafri did not loosen her grip. “ The last we know of your mother was the day she ventured away to the Cwaren Circle of Babylon. This is allegedly a secret area of operations for both human and reptilian beings. A massive joint humanoid-reptiloid underground system called the "The Nano Circle" is said to lie below the mountains of Nero. It is said by some sources that this joint human-alien force has spread terror through this sector of the galaxy, conquering and committing untold atrocities against the peaceful inhabitants of other worlds. Your mother’s research revealed that with the power of the paralinik key all the galaxies could possibly be destroyed.The paralinik key is in The Nano Circle but cannot be revealed to the blind eye unless that being holds the main source of revelation.Before she disappeared your mother hid the sources of knowledge in this gallery. As you’ve come to realize this is more than an art gallery, it is a beam of life divided among beings lost in limbo. Your mother’s gallery keeps a sacred knowledge Amalina, it is the source of all knowledge, it is the Fountainhead.…. To be continued on the next issue of Arttour International Magazine

Yadira Roman is a film maker and writer of highly personal films. While many of her works reflect on her experiences with psychological disorders, her current research interests include theory of reincarnation, of spiritual journey and issues related to time and space in cinema. Inspired by her mother ‘s artistic career, the film student sprung into the world of the arts and writes for the freedom of voice and thought. Contact:

THE WRITER’S CORNER is a column created to support and encourage young novelists and writers. If you would like to show your appreciation for the works you read here feel free to contact our writers. If you are young novelist or writer feel free to submit your works to Att: Natalia Castaldi.

October 2012


Arttour International



The Arttour International Video Channel is an innovative concept in visual arts aiming to broadcast via web channels and orbital satellites above the territories of Europe and America targeting a large audience. Offering a global platform for artists, galleries, film makers and creative individuals to expose their work on our virtual gallery, and promote their events in a global artistic scene. Tune in to our channel and watch the most recent events of the international art world!


October 2012


Creative Films to Ignite your Imagination By Deen Albertini - Toronto, Canada


Angela is that you? Angel-A acquired excellent reviews because its characters are extremely likable and easy to connect with. The main character, named Jamal (played by Andrea Moussah), seeks salvation by trying to escape the mess he has created. He finds himself in a dark and gloomy place, having racked up some enormous gambling debts. Desperately attempting to end his pitiful

life, he meets a woman that will transform his perception forever. The beautiful woman named Angela, with her positive attitude, gorgeous blue eyes, and soft-skin-shows Jamal how to be honest with himself and with others.

wants to help him and believes deep in his soul lies a virtuous man. Watching this movie can make anyone burst into tears!

A FRIEND FOR BRUNO The Boy in the Striped Pyjamas is about two boys who become friends in the most tragic scenario-World War Two. Bruno (played by Asa Butterfield) is from a wealthy German Military family, and he does not understand the horrors of the adult world. He develops an incredible friendship with a Jewish boy named Leon. The boys maintain their friendship by having adventures in the wilderness and playing exciting games. However, their friendship comes to a startling halt by a terrible event, but together both Bruno and Leon learn lessons about love, trust, and the power of imagination. The Boy in the Striped Pyjamas is a reminder of films such as Schindler's List, The Pianist, and Life is Beautiful.

BEAUTY& THE BEAST Day Dreamer claws at the human psyche; it is about a drug dealer named Clinton and his journey into redemption. Having wasted his life through drugs and alcohol, Clinton meets a woman that


KILL OR BE KILLED The Hunger Games is an artistic phenomenon that jabs the inner core of our soul and reminds us what it means to be vulnerable. The characters are riveting and dynamic and there are not enough words to describe their layers of depth. In this futuristic masterpiece, the audience dives into a world where children fight to the death, when entered a game called The Hunger Games. Katniss Everdeen (played by Jenifer Lawrence) is the protagonist of this story, and she is a powerful and skilled hunter. She does whatever it takes to win while keeping some sense morality. Here, is what this film is about, courage, hope, faith, and the will to preserver. Watching this film is a thrilling experience.

The Time Traveler’s Wife is an extraordinary film, which touches upon the fear of being alone. The movie introduces us to a young man named Henry (played by actor Eric Bana). Henry has a rare genetic disorder that makes him jump through time. He also has a vivacious wife named Claire, and her strength is captivating. Claire must lead a normal life while maintaining her relationship with her disappearing husband. Henry is a tragic victim of circumstance and all he wants is to stay with his loving wife. This flick is simply extraordinary. For comments or info contact Deen at: DeenAlbertini@arttourinternati

October 2012



Look who’s reading our magazine!!!!!! Arttour International Magazine is getting ready for its anniversary celebration! We are thankful for each individual that has contributed to the success of our publication during this wonderful year and are happy to share images of some of our editors, writers and contributing friends. Enjoy! Watch our Art 2 Heart Interviews at the Online Broadcasting Channel


Published by Arttour International Publications Inc.601 W. 174th Street S 4C New York, NY 10033 © Copyright 2012 Arttour International Magazine. © All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material is prohibited without the written permission of the magazine's publisher.

October 2012



Opposite page:


Left: Ferrara, Italy - Model Masae Kathy Satouchi during

Toronto, Canada - Arttour International NY Writer Cody LaVada during the Art 2 Heart interview at the Limitless Expressions exhibition.

Right: Toronto Canada Canadian Writer for Arttour International Magazine Deen Albertini during an Art 2 Heart interview for our broadcasting channel.

New York - USA - Arttour International Magazine Writer Hayden Diaz during an event for

her photoshoot for the anniversary issue of our magazine coming up December 2012 don’t miss it!

PAM 2012 at the Bronx, New York.

New York - USA - Artist Wendy Waugh during an Art 2 Heart interview at Soho, New York

Watch our Art 2 Heart Interviews at the Online Broadcasting Channel

October 2012


“CREATING ART TO INSPIRE LIVES” www.vividartsnetwork.NET

601 W 174th St New York, NY 1003 USA 1+(347) 321-8017 Italy 39+(345) 167-7704

May 2012


Arttour International Magazine October 2012  

October Issue of the Arttour International Magazine 2012. ArtTour International, the hottest art magazine covering Europe and the Americas d...

Read more
Read more
Similar to
Popular now
Just for you