Volume 1, Summer 2010
Art In Tandem: Interview With Solkide Auer and Shellina Winkler
The Sautereau Interview: The Art Of Erotica
The Final Word: Advice from resident expert artist Filthy Fluno
Contributors Chief Editor: White Hyacinth (in RL: Evelien Snel) artzine2point0.info
Editorial staff: Elise Benusconi, Alazi Sautereau, Thirza Ember Filthy Fluno
The Sautereau Interview The Art Of Erotica With Michiel Seetan pg. 16
Graphics design & layout: Nima Benoir
Rose's Garden: The Every Blooming World of Susa Bubble pg. 18
Public Relations: White Hyacinth
Production & management: White Hyacinth (in RL: Evelien Snel)
Editor Notes: pg. 4 News: pg. 5
Support, coaching and guidance: ArtWorld Market Rob Barber Doran Forzane Sasun Steinbeck
Artists Resources: pg. 5
Got a story? News? Event? Send them to us at email@example.com
The Final Word: pg. 26-29
Tips Of The Month: pg. 5 Calendar: pg.10-11
Cover Art By Filthy Fluno
Editor Notes Hi there! My name is White Hyacinth and hereby I proudly present to you the first issue of ArtZine 2.0. This magazine will cover many forms of virtual art and many platforms where it is produced and consumed. When I raised my hand at the meeting of the "Art Gallery Owners" group in February to volunteer for taking part in this project, I had no idea what was to come out of that. One week later we had a meeting with all the volunteers and I was elected to be the chief editor. It was the start of a period of hard work and great co-operation and it brought me into contact with lots of important and interesting people in the art scene in Second Life™. This month our theme is “RED”. And since “Roses are red and Violets are blue”, it immediately led us to Rose Borchovski who blends SL and RL together in visual art and theatre performances. Red is of course also the color of love and erotic, which leads us to Alanis Gallery of Sensual Images, where we interviewed Michiel Seetan and SL partner Sylvia Fitzpatrick. Another pair of avatars in the art scene are Solkide Auer and shellina Winkler, who regularly do exhibitions all around the metaverse with their interactive artwork. And again there is a link between SL and RL. The longest article this month is by Filthy Flumo, who tells us a lot about his personal experiences in “live painting’, that is: Painting before a live audience. And again we see that this audience is sometimes in real life, sometimes in SL and sometimes elsewhere in cyberspace. The article includes tips for artists who want to break out of their lairs and turn the art of painting into a social happening instead of a solitary creation process. Creating this magazine is a team effort and we all enjoy bringing it to you. The magazine will be distributed for free (at least in its electronic format), but there are some costs involved in the production process and internet hosting. These costs are covered from income on advertisements and donations. If you want to promote your venue or art work, don’t hesitate to contact us and we will make a deal. We distribute our magazine using the SasTech Kiosk System, which has been donated to us by Sasun Steinbeck. A list of these kiosks is available online at http://artzine.2point0.info Your site can be on there as well, if you put up one of our kiosks.
News Controversy was sparked by the recent announcement by Linden Labs of the new project Linden Endowment For The Arts or LEA. The program has been created to help support, encourage, and showcase Secondilfe artists.
The problem originates with the question, what defines Secondlife art, and who will define it? Now it's your turn, let us know what you think of the project, will you participate? (To apply: LEA Art Project ) Do you consider the Linden Endowment For The Arts, a benefit to Secondlife residents? Or a new disaster in the makeing? Send letters to the editor at firstname.lastname@example.org We look forward to hearing your opinion. Need another copy of Artzine? Pick it up inworld at the Artzine offices: Yeodeol/23/129/57
Artzine 2.0 Needs Volunteers! If you've ever wanted to be a part of the creation of a magazine. Here's your chance! Artzine is looking for news desk, reviewers, and events writers. Please send samples of your work to.... We also need your news, events, SL art related questions and opinions send them to the editor at: email@example.com
Artists Resources Tips Of The Month! Most residents have a love hate relationship with Sculpties, here's how to keep it mostly love! Tired of items made with sculpties "popping" and not looking like anything until your standing right next to them? Here's how you fix that. On the top menu of your Second Life viewer go to Advanced (Ctrl-Alt-D on your keyboard if you don't see it) and click on Debug Settings. In the window that opens write: RenderVolumeLODFactor and change it to a value of 4 or greater. I use 8. Now the sculpts will not distort when viewing from distance!
Art In Tandem: Interview With Artists Solkide Auer and Shellina Winkler By Thirza Ember
Avatars to watch...
For the past two years Italian artists Solkide Auer and shellina Winkler have been regular exhibitors across the metaverse with interactive artwork, at prestigious locations such as AHO, SWAG, Primtings, Diabolus, and the Crescent Moon, creating colorful, multifaceted installations both separately and as a team. There’s a dance-like feel to their building practice. “Our creative thought runs along similar lines, and even though we shared modifying powers long ago , we still only work on a joint project when the other party is present, ” Solkide explained. “On the whole, I work more on the structure, while shellina comes up with textures. When (very rarely) we have a difference of opinion, we talk it through, in chat, since we work late at night, but also in voice, so we can come to a shared decision.” The partnership has been forged across both realities. Solkide and shellina met in RL for the first time at the ‘Mostra della creatività’ at Florence, Italy, and have participated via SL in events in Rome and the recent Through the Virtual Looking Glass show in Nice. “The chance to meet in person SL friends like Roxelo Babenco of the Museo del Metaverso and Asian Lednev (in RL the architect Fabio Fornaciari) was exciting. One of the best things about SL is that you can connect with people you admire in a way you wouldn’t consider doing in the real world,” Solkide commented, “And that enriches the experience of art in SL as a learning process.” When it comes to learning, they feel strongly about paying it forward. “I’ve taught others building basics, and it’s been a joy to see them take the skills and succeed in various fields from fashion to architecture.” The thing that matters most to both is sharing their art with others, not selling works, although naturally that’s nice too. “Honestly, I often forget to put prices on my work,” Solkide confessed. “I am more interested in getting people’s reaction. Unlike RL, here in SL, a trip to a good museum or gallery is effortless, and they attract all kinds of people, from the hard core art-lover to the guy out on a date. As I build, I wonder what their reaction will be – what they will see in the thing I make. Let’s face it, anyone can learn to put four prims one on top of another. The secret is to have imagination – fantasia. That’s where our staying power and our enthusiasm come from. My artwork is more than a piece of personal history, it is hopefully the beginning of a conversation.” Their personal collection is at ItalicArt, Slitheen, 178/41/72 and when it comes to choosing a gallery in which to show, Solkide and shellina pay a lot of attention to the aesthetics of the building and the way the surroundings will affect the public’s experience. “It’s about a sense of enjoyment,” says shellina. “My best memory ever is seeing 20 avatars floating around ‘Second Star to the Right’. It is really important to share my work with others – whether it’s art made of a single prim or a huge build like ‘Towards the Future’ at Burning Life.” http://youtube.com/watch?v=LF1kHM6ds7c 6
â€œHonestly, I often forget to put prices on my work, I am more interested in getting peopleâ€™s reaction." 7
Second Life Artists Solkide Auer and Shellina Winkler
World of Pixelation Art Exhibit Event Details: Date: Sunday, June 6, 2010 Time: 3:00PM - 3:30PM Location: Rendervisions Isle (68,51,45) Host: Wynd Ling Author Arlene Radasky reads from THE FOX Event Details: Date: Sunday, June 13, 2010 Time: 2:30PM - 3:30PM Location: Book Island (196,47,24) Host: Selina Greene
Movie Night At The Librery! Date: Saturday, June 5, 2010 Time: 5:00AM - 7:00AM Location: Tiatopia Island (78,169,25) Host: Loulane Perl HAIKU Speedbuild @ 6 PM Artist/Builder contest Event Details: Date: Thursday, June 10, 2010 Time: 6:00PM - 7:30PM Location: Afar (226,122,609) Host: Special Jewell
Live painting at Solution @ Studio Genre! Event Details: Date: Wednesday, June 23, 2010 Time: 3:00PM - 6:00PM Location: Ahura (159,224,28) Host: Genevieve Silvercloud
POETRY - DONJUAN WRITER at SANCTUARY Event Details: Date: Saturday, June 19, 2010 Time: 11:00AM - 12:00PM Location: Laurel Arts Isle (231,31,22) Host: Circe Broom
POETRY - SABREMAN CARTER at SANCTUARY Full-screen Event Details: Date: Saturday, June 26, 2010 Time: 5:00PM - 6:00PM Location: Laurel Arts Isle (231,31,22) Host: Circe Broom
Petrified Tree of Mystic's and Aeolus Photography by Katana Inaka 12
Petal's Place - Main Gallery on MooCow Island Fatimas Everlasting, 179/213/21
Petal's Place at Avalon Arts District - Tabula Rasa, 247/90/27 Petal's Place at Crossworlds, The Lost World - Lynto Land, 152/209/22 Petal's Photography Online: http://www.rebeccatolk.etsy.com 13
Alanis Gallery, Roissy, 202/39/216/24 15
THE SAUTEREAU INTERVIEW 'THE ART OF EROTICA' AN INTERVIEW WITH MICHIEL SEETAN I met Michiel Seetan within view of the most elegant striking staircase at Alanis Gallery Sensual Images, of which he is co-owner with his SL partner and RL friend Sylvia Fitzpatrick. Anyone meeting Michiel is soon put at ease by his charm, wit and boundless energy which, combined with Sylvia's artistic flair and creative skills, have promoted Alanis to become the busiest gallery in SL specialising in erotic art since they moved to Roissy 2 over a year ago. I was interested to know about their ethos and their choice of exhibited works. Alazi Sautereau: Michiel, how did Alanis Gallery become what it is today? Michiel Seetan: It was Sylvia who founded the gallery to showcase her RL photography, mainly nature studies and her extraordinarily sensuous self-portraits. Although her work remains the beating heart of the Alanis, we have subsequently invited other artists, mostly RL photographers and painters, to exhibit with us. AS: Alanis promotes 'erotic art' but,, what is the difference between that and ‘pornography’? MS: Perhaps it’s simplistic to assume that there is a clear distinction. As art critic Jonathan James, has pointed out, if you take an Araki off the gallery wall and carry it with you to the bathroom, "Hey presto, you are looking at porn.” AS: And how do you respond to any accusation that the art you display may exploit and degrade women? MS: Terms such as ‘exploit’ and ‘degrade’ beg the question and shut off serious debate about the imaging of women in art. Anyway, Sylvia and I take Rodin’s view that the concept of immorality doesn’t exist in Art. How impoverished we all would we be if Velázquez had never gazed longingly at human flesh, if Degas had not developed an unhealthy interest in bendy ballerinas, and if Schiele had not been obsessed with delinquent teenage girls! AS: So how do you and Sylvia decide which artists to invite to Alanis? MS: We ask three linked questions. Firstly, do we like the look of their work (or, to put it more pompously, is it aesthetically pleasing)? Secondly, does the artist cast a light on their subject matter which allows us to see it afresh and/or think differently about it? Thirdly, would we admire their work if they drew, painted, printed or photographed bowls of fruit? By the way, please ask ArtZine readers to get in touch if they know anyone who draws a more fluid line than Gary Walton, paints with more passion than Joëlle-Circé Laramée, cuts lino more expertly than Erica Chappuis, or sees more clearly through a lens than Craig Morey. [AS: Walton, Laramée, Chappuis and Morey are four of the many RL artists who have exclusive deals with Alanis] AS: What is your view of Alanis being classified as an ‘adult’ venue?
MS: Well we show nothing that would look out of place in a mainstream gallery in RL, so it’s mildly irritating that we’ve got to have adult status when artist like Rodin, Mapplethorpe, Araki and Gill get shown in the most reputable galleries in RL. So please come to Alanis because you like looking at pictures and not only because you are looking for a cheap thrill. That said, I wish I knew places in RL selling thrills, never mind art, for as little as two bucks a throw. AS: As the busiest SL Gallery for erotic art, what else, apart from your exhibitions ,draws so many people to Alanis? MS: Sylvia is not only a fine photographer but also a professional designer, and she has built a marvellous series of linked spaces. It’s a pleasure simply to walk round the gallery and take in the sea view from the balcony. We also have living sculptures at Alanis, in the gorgeous shapes of the Alanis Angels, who interact with guests in the Garden. As well as being a Gallery, we’re a place where friendly people meet, chat and engage in adult RP.
Interview by Alazi Sautereau
A sincere artist is not one who makes a faithful attempt to put on to canvas what is in front of him, but one who tries to create something which is, in itself, a living thing. William Dobell 17
ROSE’S GARDEN: The Ever Blooming World of Susa Bubble By Elise Benusconi
It's been about three years since Rose Borchovski first conceived of creating a character with which to explore the possibilities of Photoshop in Second Life. Her first work was a re-imagining of The Last Supper, albeit one peopled with 12 identical naked, bald, child-like Apostles surrounding a beatific figure of the same description; and she has recently come full circle with a new rendering of that theme with broader skills and deeper perspective on the multiplicitous creature called Susa Bubble. As she worked with the Susas of her initial project and inspired by her young daughter, Borchovski discovered in Susa much more than a graphics project; she found a way to express her view of life’s challenges and lessons. And so a story began to reveal itself as a poem.
Susa’s doubling trend continues until there are 33 Susas in all...an odd number that causes some consternation amongst the Susas and some dire results. 18
In an endless unfolding of immersive three-dimensional vignettes, soundscapes and spoken and written word, Borchovski shows us Susas who struggle with one another, with the world at large and with an inner landscape both familiar and disturbing. Themes and imagery that thread through the many scenarios include ominous trees, inescapable blue eyes, whirring clockworks, schooling fish, a child's haunting voice and the number 33. Exploring the resonant meanings of this number, Borchovski explains, "33 is the age of Christ when he died. 33 is the number of hope and it is a Master number; the strongest one because it has 11 and 22 inside. The human spine has 33 vertebrae. It is the atomic number of Arsenic. It is also the double star in the constellation Pisces, therefore my sim is called Two Fish." Borchovski’s work penetrates themes of Life and Death with an unflinching eye throughout the telling of the Susas tale. There is murder and cruelty and heartbreak and despair in abundance. And although she claims the Susas also experience joy and play, she admits that it may be hard to detect at times. “I try to make them smile, but it never seems right,” she admits. A successful multi-media performance artist in her First Life, Borchovski is accustomed to planning intricate live theatre and location sensory experiences that incorporate music, dance, video, props and voiceover. An example of her complex work, one that marries elements from Second Life with live theatre is called “Blue Planet”, and can be viewed on YouTube. This multi-layered sensibility is abundantly evident in the nature of her Two Fish work, but also in the endless variations on the Susa theme she has constructed across the Second Life Grid. Her work appears on several sims, including the Angel of Mysts Gallery and S&S Gallery of Fine Arts. Currently at the Man-a-Hatta Gallery, Borchovski's latest Last Supper exhibit, called The Kiss, depicts the familiar grouping at the moment of betrayal, with a wine goblet frozen in time, spilling it's blood-like contents near a barren tree that represents both the Garden of Gethsemane and the vehicle for the final tragedy of the tale. Unlike the expected canonical story, the struggle in this scene is not a religious one, but rather one of the individual in opposition to the collective. "In my story, it is not the blood of Christ that gets spilled, but Judith's (Judas); they kill her because she refuses to be one of them," explains Borchovski, pointing out that the second part of the installation is the moment just after the kiss, and there "we can read that they convict Judith without a trial. The question is how much can we be our own person; the balance between me and we." So does this return to the original Susa theme mark the end of an era? Has the Susa story been told? What is left for Borchovski to explore with her child-like muses? “After they have tried religion, they will try Democracy. I am working on that now,” explains the tireless Borchovski.
“And this one is funny, because they do not know to go Left or Right.” She describes a new power play amongst the Susas, as the original One Susa, rises to become a leader, only to face the challenges and dangers borne by those who dare to distinguish themselves from the crowd. So with a seed of inspiration and a garden of dream-like imagery at her fingertips, the bloom is certainly still on this Rose and the epic saga of her struggling Susas burgeons on. Elise Berusconi is Co-Owner and Curator of Patronii Center for the arts, featuring fine art, live music cinema. She has been writing and editing professionally for more than 20 years.
Finding Susas Across the Grid Two Fish Cariacou, 128/128/2 Man-a-Hatta Fadhoo, 128/64/2 Angel of Mysts Aisling Myst, 93/128/230 S&S Gallery of Fine Arts The Gallery, 219/219/25
Susas on the Web The Susas have inspired and moved many to try to capture the experience of walking the eerie artscapes created by Rose Borchovski. Here are some links to Susa-related videos: Rose Borchovski’s “Lost in Counting” Video http://www.youtube.com/watch?v=h1a3iIYrOE4 Iono Allen’s Video http://vodpod.com/watch/2925658-the-story-ofsusa-bubble-rose-borchovski-artwork-by-iono-allen Nakoto Exonar’s Video http://www.koinup.com/Nak_Exonar/work/248645/ Lackworthy Antfarm’s Video http://vimeo.com/6028429
Intervrtive Art Where YOU Complete The Painting
19 - Uncommon Art For The Uncommon Ave Champs Elysees 84/108/32
New to the virtual world? Need a place to show your work? The New World Artists Association was created to help artists new to Secondlife. Gallery spaces, art walls, education, tools and a friendly community, ease your way into the Secondlife art scene. 24
Drop by for more information today!
We Need You! Do you like to write? Are you interested in design? Have you ever thought about working on a magazine? Artzine 2.0 is recruiting for a variety of positions inside our magazine. Researchers, news desk, proofreaders, photographers, this is your chance to shine and join one of Secondlife's most interesting new magazines. Please drop us a line telling us a little bit about yourself and begin a new rewarding adventure today! (We are also looking for your tips and tricks, news, advertisng, letters and more!)
Email: firstname.lastname@example.org - for details.
The Final Word
By expert resident artist Filthy Fluno Live 2.0 Narrative Art by Jeffrey Lipsky aka Filthy Fluno The tradition of narrative painting is drenched in American history and goes back to Colonial times, when landscape painting was a documentary art. Painters would document and commemorate battles, ceremonies and weddings with extreme attention to details towards costume and location. In todayâ€™s version, artists are still traveling with their art supplies to capture special events and places, but the venues and audiences where they are making the art include both real and online virtual locations! Live painting in front of an audience can be incredibly beneficial to artists for two very different reasons. Making art in front of people is a great way to get your stuff out there and working in a very fast, loose and time constrained environment will also help you expand your techniques. However, I would only recommend doing Live Art events if you have experience with figure and still life drawing. If you're comfortable with your drawing skills, you then need to decide how comfortable you are being in front of a live audience. If you are a little shy, perhaps start off at a friend's holiday bbq or birthday party. Once you get comfortable with your set up which should include an easel, paints, brushes, buckets, pastels, charcoals, paper, a drop cloth or old rug, and clean up supplies, you'll learn how to adapt for different situations and venues. Some galleries, like Gallery 119 in Lowell MA, even host live art nights and invite musicians and artists to come take over their space for the night. Keep your eyes open for such events because they are a great introduction to the Live Art scene. At my last live art event, I was in Brooklyn NYC at Freddy's Bar and Lounge for a poetry, music, and theatrical performance called Filthy Kolored Angels. The room was small, the performances took place right in front of me, and I had a decent audience of 15-20 people, mostly performers, musicians, friends and family members. There were also dozens of people who were watching the event over the internet and in the virtual online world of Second Life. I took inspiration from the poets reading their poems and the live musician performing and put them directly into my composition. The history of Freddy's itself was both interesting and upsetting because the neighborhood and bar was being demolished to make way for a sporting arena. This made actually being on site ever more important to commemorate, so I layered relevant imagery of these events into the piece. Although I did not have a pre-sale customer, the event coordinator covered my hotel expenses so I was able to keep my expenses to a minimum. Remember that you want to eventually sell the art you make at these events, most probably to someone associated with the event or someone who wanted to be there but could not. When I finished the Freddy's piece, I photographed it, created limited edition prints on paper of it, and sold 26
out of the edition to people who were watching over the internet (Second Life) but could not get to Brooklyn to experience it themselves. This was a great way for them to get an inexpensive ($50-400) piece of art that celebrated all the sites and sounds of the night's festivities. At Jaded, a gothic fetish party in Lowell MA, the event coordinator books artists to exhibit and do live art. Rubber jump suites, dancers in cages, people hanging from ropes, and dance music pumping, there was a feast of interesting visuals to both inspire my art and distract me from making it. I had to find a balance between my interaction with the event and concentration on my piece. Because you are often limited in time, you have to challenge yourself to quickly capture what you see and hear. Do some online research about the event before you get on site if possible. Gather important dates, names, and interesting stories or even visit the site early so that you can hit the ground running. If you are hired to make a painting for a friend's wedding, ask the bride and groom if there are any people who cannot be there but wish they could be. Find out who is the best man, the name of the music entertainment, favorite song, or the significance of the colors and textures of the décor. Incorporate this information into your artwork with graffiti, sketches, and similar fast stylings. Because there is so much to consider when preparing to do a live art event, I logged into Second Life with my avatar Filthy Fluno and asked some popular artists their suggestions. San Franciso based artist Patrick Faith, aka Kolor Falls, does live art events in local museums, galleries, from his studio, and makes youtube videos of them. FF: What are your top considerations when preparing for a live art event? PF: “First is the space where I can be viewed, but still concentrate on the painting. I like to be on a slight angle from the crowd, but I'm not looking into the crowd at all because it helps me with concentration. I find it is harder when a lot of people are around. Is if there is enough space so that I can walk a bit back from the painting (10 - 20ft)... without bumping into someone? It can be tough trying to find a "workable" space and normally you have to adjust your set up for each venue. Make sure to practice before being in the spotlight. Painting in front of a camcorder can get you used to painting in front of people. Lots of people are chicken about public painting.” If showing up at a place, setting up your easel, and making art about the sites and sounds in front of people is not always possible, consider working over the internet. As a self representing artist, you need to embrace online social media and how it can help you reach new audiences, find inspiration, and make art sales. Toronto based artist Gen Montreal, aka Genevieve Silvercloud, regularly performs her live art events and broadcasts them into the online virtual world of Second Life. She often has 15-40 people watching her via video stream while they are listening to live music also coming from their computer. FF: Tell me how you are utilizing social networking technology to help your art and career grow to new heights and audiences? GS: “My most recent gigs have been here at my SL (Second Life) gallery. I ask the musicians I work with to give me colors they are inspired by. It is really fun to get the musicians involved. It usually takes me a few weeks to finish a piece so I schedule multiple events and send out notices to 100's of people in the groups I belong to in SL. When I paint for live events, I usually use pastel and acrylic on a 26 x 40 watercolor sheet. You need to work big so that people can see the artwork on their computer screens.” 27
“I want to get the word out about my work. I want people to know I paint, how I paint, and I like sharing the creation process, especially with live musicians. The synergy is incredible and I get off on it. I always get positive feedback and I think people really appreciate getting to see it happen. They get excited and follow the work. I often get tips from my Second Life audiences of approximately $40 per show and sometimes a LOT more, but sometimes less. My subject isn't really a person when I'm painting at a live virtual event. It is the energy, the music, the people attending and the overall feel of it. In SL people are getting right up close to your work even though they are so far away. They can zoom into it with a their camera controls. I think that fact actually makes people feel like they are more involved.” FF: Can you share your setup of hardware, software, mediums, and why you think it is important for other artists to consider working like this. “I always mix things up and work in stone sculpture, pastel acrylic and watercolor usually on wood. I use Quicktime Broadcaster and rent a stream on a Quicktime host server. I have a Macbook Pro with 3 GB memory and a 2.16 ghz processor. Doing live art puts you in the moment. You are engaging with the world outside and we usually close off the outside to paint because artists are often lonely people. However, I have done a few live art events in a popular local Cafe and it was very satisfying. SL has also expanded my local audience and I have sold a few paintings to some local collectors from it. After seeing me work, I want people to know that I'm a dedicated artist trying as hard as I can to perfect my art and to share the process with them. I also use live event drawing to team up with nonprofit organizations and important causes to me. Since much of my artwork is also inspired by Skydiving, this Summer I am planning to to raise 16k USD for a nonprofit so that I can “skydive for a cure,” while making a new world's record and some live art about it all! So challenge yourself to capture a figure with 5 strokes of your pastels. Assign a color for to the different instruments in the band. Use graffiti to celebrate the names of people you know are important to the event. Network (in person and online) and get your art in front of new people! However you decide to make your live art, the best way to build confidence, is to just start doing it. Copyright 2010 Jeffrey Lipsky.
Jeffrey Lipsky Online: http://jeffreylipskyarts.com/default.aspx Filthy Fluno inworld: Artropolis, 165/168/22
The Gene Shaw
Av Champs Elysees 84/108/32 Teleport Directly, Click Here!
The only place in either world for unique photos and info on this artist!
Artzine 2.0 is a magazine dedicated to connecting virtual and real life arts and artists! This issue features articles by artists Filthy Flu...
Published on May 31, 2010
Artzine 2.0 is a magazine dedicated to connecting virtual and real life arts and artists! This issue features articles by artists Filthy Flu...