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Scavenger

Cover: a painting from Casper Hoogzaad Production: LULU.com Information is correct at press time. Check www.twitartmagazine.com for updates. Twitartmagazine is published per 3 months by Artstude© 2010 . Photography: Margreet Ledelay All rights reserved. Reproduction in part or whole without permission is prohibited.

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scav·en·ger    [skav-in-jer] –noun 1. an animal or other organism that feeds on dead organic matter. 2. a person who searches through and collects items from discarded material. 3. a street cleaner.


Content

theme issue

Content & themes

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Artdirector column

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All comes to life

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@MaryAnnReilly

Growing

The story behind @Matchboox

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Inspirational growth @Managnostou

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Charity 10% @MSF_USA

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Miscellaneous @fiederels

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Childhood @FransHofmeester

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Growing down @madwithrapture

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Is PORTRAITS your theme, then we need

Flourish @CasperHoogzaad

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you for the next issue! Try to go further than literally a

Little sister is hiding @ladyJetske

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Strategic conditions @MirjamvTilburg

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your life or what else? Open and completely unguarded

Growing with pride @MCLedelay_art

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To the top @cArtoon_Erik

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PAIN was one of the

Doodle drawing @Doodledaily

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Visual rhyme

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Online auction @140hours

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Stay tuned @twitartmagazine

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potrait.

BORDERS your hometown or

or restricted...

inspiration sources from Fridah Kahlo, can we find the new Fridah Kahlo? Can you relate to her?

LANDSCAPE

art is that still in the picture? Can we find enough artists on Twitter to write about this or make art? We need you to make twitartmagazine

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Art director Dear Tweople,

We create to innovate! Helping twitter artists! Let’s make a fresh start. A new era in art. In our magazine you can find a lot of artwork from all over the world. We make a selection and every season we have a new theme and a new magazine! We as Twitartmagazine believe we can grow. We can create . Yes, this is new. Twitartmagazine, an art magazine in the new digital age of twitter. Inspirational, quick and divers. You will be reading: artists stories, interviews, comments, links. You will see art work, inspiring people! But, we need you! That is: you may contribute. Every season we focus on a theme. This time: growing. Next time: portraits. And we give 10% to charity every season.

Njoy twitartmagazine, if you are an artist or interested in arts or being an art teacher, or somehow related to the world of arts, our world. Publication is essential to endure history. So we check at the contemporary source, wich is Twitter for us, and find the contemporary artist from our new decennia.

We are looking forward to all your input! Best regards, M.C. Broekhuizen Ledelay Contact us @twitartmagazine or on the web: www.twitartmagazine.com. article@twitartmagazine.com

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All comes to life... @MaryAnnReilly Mary Ann Reilly is a narrative photographer. She knows how to catch a moment into a narrative photo. Every new photo tickles your imagination. As her portfolio unfolds, the story grows...

Mary Ann Reilly is a fine arts photographer and progressive educator, born in Dublin, Ireland and raised in USA. She’s also co-author of -Deepening Literacy Learning Art and Literature Engagements in K-8 Classroomshttp://maryannreilly.blogspot.com http://maryannreilly.mosaicglobe.com http://www.infoagepub.com/index.php?id=9&p=p4b917a12e9f4a

Left page: Be For Me Like Rain, 2009 Right page: A Chance of Rain, 2009 8 • Twitartmagazine 2010


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The story behind... @Matchboox

Started small but a growing inspiration for a lot of artists! Small books can catch your eyes. Matchboox caught mine. These small books are made by this special company. How it all started...

Growing inspiration It all started with the basement. Our uncle’s basement in France. It was there, beneath his old mansion at rue de la Victoire where he made books with artists. Ever since we were kids, we looked forward to the weekend trips from our native Holland to Metz in Lorraine. While the grownups where having coffee, we couldn’t wait to rush down the winding steps and enter the basement where his huge offset printing press was. The overpowering smell of ink, paper and glue. So full of promise. We just loved it. It was our domain for a short instant, where we could leaf through the mess of printed sheets of his new art book projects. It is there that our uncle Richard Meier showed us how to bind books yourself, how to fold the pages, how to calculate which page goes where in the handmade books. It was wonderful to see him work with love, humor and respect for The Book. Looking back, it is there that we got possessed with creativity on paper. Many years later, the offset press has been replaced by an 10 • Twitartmagazine 2010

inkjet printer. And our uncle has moved from the North to the deep south of France, where he turned an old convent into a house and a book making workshop. Our uncle suggested we do a project together. It better be a small project, we joked, since we were in the middle of the hustle and bustle of our own kids and careers. Right there and then our uncle came up with the idea of handmade books in matchboxes. We had already seen classic texts in cigarette packs. But somehow we did not just want the shape to be original. The interior had to be fresh as well. The match would symbolize the true creative spark. We also decided to maximize artistic freedom for all participants. No limits, for once. We decided our mission would be to pass on beauty. Thanks to the many many years of experience in book making of our uncle, we quickly innovated the matchbox to a MatchBoox. He suggested a very ancient form of book binding, in a harmonica shape. This form of book


binding is called Leporello, named after Don Giovanni’s servant in Mozart’s opera. In the opera Leporello sings an aria before an amazed Donna Elvira, in which he sums up the seemingly endless list of mistresses of his master out of a harmonica shaped book. We then embossed our logo by hand in the paper and put this Leporello book in a timeless matchbox cover. Hence, the MatchBoox were born.

Contemporary Art in Strasbourg. After an exhibition in the hip and happening art gallery Ton de Boer in Amsterdam, MatchBoox started to draw a crowd and the Dutch press went raving. Quite honestly, we were surprised ourselves that our passion for handmade books was picked up so fast by television, newspapers, glossy magazines and fashion monthlies alike.

We started off with a French collection of our uncle’s, and a Dutch collection of our own, inviting both famous and emerging artists, writers and media personalities in Amsterdam to make a very special book with absolute artistic freedom.

Soon bookstores and galleries started to ask us for more and more MatchBoox. Now we are able to share our passion for unique books with many people, passing on beauty with every little book in a matchbox. We still invest in artistic freedom. We still make the books by hand. And we still love that smell of ink and paper in the morning.

Once we exhibited these MatchBoox in the museum of Modern Art in the ancient city of Nîmes in the French Provence, we were picked up by the Bibliothèque Nationale in Paris and the Museum of Modern and

Info from: http://www.matchboox.com Twitartmagazine 2010 • 11


Inspirational growth @managnostou

The story of Martina Anagnostou: From country to country and from phase to artistic phase, growing with every move.

Traveling around the world So here we are again in a new country a new home, a familiar place to be, in all its unfamiliarity. New sounds, new smells, new sights new sensations and a new temperature to say the least. Two weeks ago my family and I have travelled to Khartoum Sudan to live here, after three years in Moscow. We have gone from one of the coldest capitals in the world to the hottest; from a place where vodka costs less than water to a place where you can not find non alcoholic beer let alone vodka; from a place of scantily clad women even at -20 degrees cold to a place where women cover their heads, arms, legs and hands even at 40 degrees heat. So here we are, in the polar opposite of what we have learned to understand and adapt to in the last 3 years. When my first born was not even born yet my partner and I decided to go work for Medecins Sans Frontieres or Doctors Without Borders, a non governmental organization that provides medical relief in man made or natural emergencies. Seven years down the line and our two boys (the second of which was born in Islamabad, Pakistan) have lived in four very different countries in their short lives. They have voiced no complaints so far in all their travels and rootlessness. They shed a language while picking up a new one each time we move, moulding themselves to their new home with such tenacity that it is humbling. So here they are my two little brave men who cross obstacles others wouldn’t dare to imagine, without a second thought, and unconscious of their feat. The path of each artist is also a journey, a very special journey of meetings and admitting, of knowledge and 12 • Twitartmagazine 2010

acknowledgement, of growth and re-growth. I have actually worked with MSF half of the time we have been travelling, but I have been painting and exhibiting throughout this great adventure of ours, ever since I can remember in fact. For an artist this way of life is like a treasure chest of inspiration. Being an artist also makes it easier to adapt to this way of life as I bring my profession with me and the new place helps with its enrichment. With each new environment not only does the context and stimulus change but also the materials. All this helps to redirect my path take me out of my comfort zone and allows me find new subject matter, techniques and methods. And always in the backdrop MSF’s incredible work in the field, a constant source of despair and rejoicing, a constant reminder of what suffering means. A constant drive for me to give my work a social meaning, a platform on which to combine the aesthetic, ironic and polemic so as to bring a message home. So here I am discovering the unknown anew! It is what makes me feel at ease and at home. Having to adapt to a new environments is what gives motivation and drive to my life and in my work. I feel humbled by how much I do not know. So here I stand Khartoum an artist reborn again in your midst, allow me to grow allow me to bloom yet again! Martina Anagnostou http://www.martinanagnostou.com


Charity 10% @MSF_USA

Every new issue we want to share from our blessings. We donate 10% of our issue revenue to a charity goal related to and selected per issue. This time Martina’s story touched us. As they travel the globe for MSF, we can support them. Please join us!

Delivering emergency aid “Doctors Without Borders/Médecins Sans Frontières (MSF) is an international medical humanitarian organization created by doctors and journalists in France in 1971. Today, MSF provides aid in nearly 60 countries to people whose survival is threatened by violence, neglect, or catastrophe, primarily due to armed conflict, epidemics, malnutrition, exclusion from health care, or natural disasters. MSF provides independent, impartial assistance to those most in need. MSF reserves the right to speak out to bring attention to neglected crises, to challenge inadequacies or abuse of the aid system, and to advocate for improved medical treatments and protocols. In 1999, MSF received the Nobel Peace Prize.”

Quote from: http://www.doctorswithoutborders.com Twitartmagazine 2010 • 13


FREE GIFT for a tweet: Get @ALittleGMusic 's song 'Excitement' for free in exchange for just one tweet: http://trkurl.com/IYjZu0 #TFAT 14 • Twitartmagazine 2010


Miscellaneous I wonder: what about art eduation all over the world? Please, feel free to email us. We are anxiously waiting for your story!

On flickr we found this amazing photo set made by Els ten Napel aka @fiederels. Bare feet in a waiting room. What will happen next?

Work made in an art class in the Netherlands. Who taught you Art? What stories can you tell about your educator? Was your teacher a source of inspiration?

It’s a growing set photo’s all about waiting. What philosophy is there in waiting? What concept hides behind waiting? A Dutch song says: “Sit still, pray and wait... ” But is that so? Do art skills grow just by waiting? If not then what?

For me, I had several Art teachers at high-school. Unfortunately I never saw their own art work. I am convinced that exposing your students to your own art work is inspirational. Show your work, do not hesitate. In the school of arts I was inspired by the art work of my teachers and their colleagues. And my pupils got inspired by mine. It works for sure. Quote ” Seeing art makes you eager to create art” and “insight in the process of the art work makes the work of art more desirable”

Having discipline, courage to make the right choices or even the wrong ones will lead to growth. Fall and stand up again. And we need a balance in all. Waiting as an art project is a different way to let the viewer think about themselves as a contemplation. Move forward - wait - move again. http://www.flickr.com/photos/fiederels/sets

t en ou.” tud ach y s MA ot te m o r nn te f e I ca o n is : urg therw b l i t o mv e , rja on m i @m esti u “Q

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Childhood @FransHofmeester

Video art cannot be shown in a magazine, but we consider this man extraordinary. We invite you to visit this artist website or his YouTube channel. Growing is all about discipline. This artist follows his children while growing up. But his art work is so much more than that.

Growth as an art project Frans Hofmeester is a fine artist living and working in the Netherlands. As you can see on his website, Frans also makes pure Dutch installations. He takes us, with his art, into his world. The world of skating, growing up, dreaming, drawing. And the best thing is: Frans shares his art with the world. We can view his art and learn about this other aspect of the art world. Inspire our students to have discipline and patience. Art needs to grow. Frans Hofmeester finds his inspiration from his habitat, his family. Wondering like a child. Taking every experience to learn the world to wonder again. And so the story is not at the end. What would your personal short animation of your childhood look like? Depict your personal development in the arts using a simple video editing program and learn to appreciate your own growth as an art project. Soon Frans Hofmeester will have his work in an exhibition in New York . Check his website for further information. http://www.FransHofmeester.nl http://youtube.com/hofmeester

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Patti Agapi @madwithrapture

Growing Down 2010 Mixed media piece, plaster, acrylic paint on board/ 12x24 inch http://www.madwithrapturestudio.blogspot.com

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Flourish @CasperHoogzaad

How green do you think I am? was the name of his last exhibition. Does green refer to his ecological methods or does it refer to the lack of experience of Casper Hoogzaad? His resume shows national and international exhibiotions since 1990. What makes his paintings so special? He composes his paint out of minerals and pigments.The earth of Suriname speaks through his paintings. The colours vary depending on the angle of the light.

Alchemist of paint At the opening of this exhibition some Surinam people even smelled the Surinam earth. His colours and subjects brought back their homeland into the present wherever they are. The Surinam earth is an essential component in the paint Casper makes. These natural components used delivers crystalline mineral structures, undetectable by the naked eye. But moulded into paint these structures have a stunning effect on the way light is reflected. Something magical happens. Is n’t that we are all looking for? Authenticity in used technics like the ancient Flemish painters. They created their own paint. A skill that was lost over time. Reinvented by Casper Hoogzaad with success. The old techniques linked into contemporary art. This contemporary artist is still evolving. The more abstract paintings are a substraction of his earlier work. A quest to find the essence. http://www.CasperHoogzaad.nl

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Little sister is hiding @ladyJetske

 My thoughts and dreams are like the wind, free... as a child... without knowledge of boundries nor constrictions....

Apples and onions? Quote from Jetske Vermaak: “This is a work from my ‘Little Sis = Hiding’ project. I wanted to visualize the questions: ‘How much of our emotions and feelings are genetic?’ and ‘How do we deal with them in the today’s (digital) world?’ For all visualizations in the project I like to use old and new proverbs, symbols, facts. ‘The apple does not fall far from the tree’ and ‘Onion routing’ a computer technique for anonymous communication. When Big Brother is Watching, Little Sister creates her own Utopia! She does that by displaying a collection of dear objects and photomanipulations in a modern cabinet of curiosities. In these photomanipulations images are mixed into new worlds to wonder about. With clear digital photoframes and symbolism these images build a bridge between previous

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grandeur, its decline and contemporary comfort. Man and its environment plays an important role. The hunted times in which we live, in which by modern resources the outside world is always near, does yearn for other worlds and times. Not only the own experience is very visible to the outside also reversed outside impressions sometimes come uninvited inward. The cabinet offers you a moment to be private with a thought or image.” `There are pictures and there are windows, you create windows. I want to look inside them to see what else there is.’ http://ladyjetske.deviantart.com


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Strategic Conditions @MirjamvTilburg

You probably recognize the cliché of artists who wake up at two in the afternoon. I never indentified myself with that image. I always get up at seven and my desk is organized. During my MA I got frustrated with this fact, I wanted to be able to work in the dark night and have discussions till 4 o’clock. At the same time I was teaching at a secondary school, my dayritme really connected to my colleagues there.

Fascinated by discipline

Since than I am fascinated by discipline and especially self-discipline. For me Michel Foucault offered me an interesting insight in the way discipline works. He focuses on discipline in his book Discipline and Punish: The Birth of the Prison. By structuring and controlling time, space and movements of the body, an external power can discipline a group or individual. For example think of timetables for praying in monasteries, or exercises in military training. Or how industry workshops are organized. All these discipline structures are full of repetition and normalization.

Now, imagine a boyscouts dormitory, with bunkbeds and on identical chairs are lying uniforms. All the blankets are the same colour. Compare this image with an image of an artist studio. I picture an old classroom, with second hand furniture. No symmetry in the design, every chair is different. Shelves are made when they were needed, as a result differ in size and colour. The table is simple, but big. Scatterded all over the place pieces of unfinished artworks. It’s not necessarily dirty, but it’s a marked space, with paint and glue on the table, walls and chairs. Both spaces seem to be totally different. But why? I never experienced artists as lazy. I’m always amazed how hard

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we work. We want to create, achieve something, being lazy does not make sense.

There is a big difference between the discipline, described by Foucault and the one I’m interested in. Foucault focuses on external discipline by strict teachers, military drill intructors and others. I’m focusing on self-discipline that is driven by internal motivation. Hans Abbing wrote a great book: “Why are artists poor”. Internal motivation is beautifully explained in that book. Does internal motivation really exists? Is there something in our DNA that makes people do things they don’t get any external reward for? He doesn’t answer that question, but he analyses different forms of appreciation and satisfaction that might play a role. For example the “private satisfaction”given by the material you work with. When I am embroider something, I forget everything around myself and enjoy the threads and the canvas slide through my fingers. But in my practice you don’t see any embroidery, so that can not be my personal motivation. Other rewards that Abbing describes are a mixture of appreciation. For me, for example, appreciation of colleagues is important. And in the second place I enjoy the appreciation of funding or government related appreciation. So when a colleague artists comments son my work, I would easier internalize


RESERVOIR Over the years I made a series of related drawings under the “codename” RESERVOIR. The drawings make visible what I carry with me in solitude. Reflections and transformations of what I experienced, echo’s of a collective history, lessons and painful moments, the tapping of the clock and fading away of time. During the act of drawing my thoughts are guiding my hand, my hand my thinking in a inimitable movement of to and fro. Concentration and focus, are during the proces of drawing, the pointer. With this attitude and working method I filled my RESERVOIR in the meantime with more than 1000 drawings. Albert Van Der Weide

the critisism compared to when it is said by someone not involved in my work. This process of internalization goes on and on.

Artists are the ones in a society that are the most internal motivated. That’s why I’m so interested in how we deal with self-discipline. The academy is somewhere in between the boyscouts dormitory and the artists studio. For me it is a reall funny struggle between practical structures of universities, like timetables and closing times, and the ‘freedom’ of the artist studio. At the fine arts department in Rotterdam one can find all different kinds of furniture,everyone has his own unique coffee cup and students wear the strangest combinations of clothing. Yet, it’s not allowed to drill a hole in the wall and the opening times are strict.

The core of my research Strategic Conditions consists of ten interviews with artists who teach at different academies. The interviews focus on both the personal conditions and the teaching experience. I interviewed Clementine Deliss; developer of Future Academy; Hinrich Sachs, professor of Royal Academy Stockholm; Tobias Rehberger, professor at Staedelschule Frankfurt and seven others. The artists talk

in detail about their personal working process. Beside that they talk with enthusiasm about their students and their work as a teacher, how it is sometimes frustrating and sometimes relaxing.

Let’s compare two interviews. Doug Ashford, professor of Cooper Union in New York and Albert van der Weide; professor at Willem de Kooning Academy, former dean of Academy Minerva Groningen and member of the board from the Gerrit Rietveld Academie Amsterdam. Both work within existing academies, they didn’t initiated one. Both have enormous experience within art education. Both made sacrifices for students and their artistic practice.

Albert Van Der Weide brought his artistic practice to a halt for ten years. When he stopped his job as dean and gouvenor, he picked up his practice and ever since 2006 his career is growing and growing. He works from half past eight till late in the evening. Although he can work night and day, he likes taking breaks with his family members. He takes care of his body. For example, he doesn’t like long nails. So he enjoys the silent moment of sitting down with scissors. I never visited Albert in his studio. He never allows people

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in there. “It shouldn’t be named a studio, it’s more an office. It doesn’t say much about me.” But what he finds important is that a studio has a clean desk with the minimal size of 47x71 inch (A1). That’s also one of the main rules he has for student studio’s.

He makes his drawings anywhere, except at the academy. He wants to be there for the students. On the other hand he’s very loyal in sharing his experiences about residency’s and his work while showing his work in class. He presents his work in class several times a year and uses his practice as an example amongst others. For him it is important that the work finds a place in the world, he doesn’t makes it for his own benefit. He experiences a weird contrast in within himself, on one hand he is an artists and anarchist, on the other hand he loves power and structure. ‘The feeling of sitting behind the desk and everybody is listening to you, like, that’s the man who’s going to make the decisions. Amazingly that feels very well.’ Doug Ashfords practice consists of many different activities. He teaches, organises seminars and lectures, writes and paints. He was part of Group Material in the eighties, recently he published a book about that period. He works three days in the academy, the rest of the week

he is either in his house or in his studio. He is easily bored, after 2-3 hours working, so he goes home eats or takes a nap. When he comes into the studio he watches TV. He said: I have a big TV and there is opera on. I started buying operas and I watch them and cry. He watches opera with the strategy to withdraw all the emotion of his work. He doesn’t show his paintings, he makes them so he can watch them. But if somebody else could make them, he would prefer that. He said: I am so busy making this intimate work, that I no longer know what my currency is in showing them. I wish, when I was a younger artist, that I had the capacity to withdraw and not want to be accepted so much.

This is why teaching art is so emotionally difficult, because on the one hand we want people to be successful, but our goal is for them to be a failure. He directly links his own insecurity with the way he teaches. He has a close relationship with his students, they come into his house and have dinner together. But he doesn’t use his own practice as an example, especially because when he started he was against the antiquated idea of the studio, and now he himself is involved in this same kind of practice.

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With both I had a great interview, with sincere answers and a lot of experience. They deal differently with showing or not showing their work, allowing students in a private context or not, putting themselves as an example or not. Over the years they found their way to deal with time. Van Der Weide by not making art for ten years and Ashford by withdrawing his work from contexts. On the other hand they let students come close. Van Der Weide by showing his work and talking about his experiences. Ashfrod by sharing his insecurity and his daily life. If you teach as an artists you need boundaries, but these boundaries are intrinsic motivated.

You have to develop your own structure of conditions. Either more like the strong disciplined boy scouts dorm or like the anarchistic cliché of an artist studio.

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(based on a presentation for ‘A Conversation’ at Summer Lodge of Nottingham Trent University Art and Design) Mirjam van Tilburg, 2010

http://mirjamvantilburg.blogspot.com/ http://www.mirjamvantilburg.nl/


Reservoir Albert van der Weide http://www.albertvanderweide.nl/reservoir0.html Twitartmagazine 2010 • 27


Growing with pride @mcledelay_art

Due to the economic crisis governments tend to cut on the art sector. Is this wisdom? What are the consequences for society when their artists cannot grow?

Growduation 2010 Growduation is the name of my mural installation as you can see on the right page. To me art is life. I must create art to grow and live. And pass it on to the next generation.

Interaction with young people; learn them about art. Inspire and awake their creative spirit. Every human being needs creativity to achieve their full potential. Creativity enables to think out of the box, to explore new ways towards a new and innovative society. Creativity is a property we inherited from the greatest Creator ever.

So we can not and should not take this aspect of humanity away, we can not suppress creativity. All societies where artists are banned, suppressed and or censored, are in my opinion not functioning societies. There is something structurally wrong in such societies. There are no critical opinions, nor innovative businesses. Non creative solutions for society problems. Of course I realize that some creative output sometimes can be painful or shocking to the viewer.

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Poetry wall @XNFF ( XNoizzFlevofestival )2010 But is this not a task for the viewer to deal with his or her pain, with positive action towards society ? The artist really is just a catalyst, a whistleblower. And we need this qualities! Imagine a world where artists can grow and let things grow.

I believe government and businesess should benefit more from artist qualities. We can overcome economic crisis with these artistic talented artists, I’m sure! Innovation and thinking out of the box are intrinsic capabilities of artists.

http://www.ledelay.com


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Merry go round @cARToon_Erik

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on a loneley heigth


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Doodle drawing @thedoodledaily

Organize a dull meeting with long boring speeches. The speaker will see lots of people taking notes. At least that’s what it looks like. Then take a closer look. Even closer. The audience is not only writing down words, they are drawing. Exactly that is what doodles are about. sketching without thinking, unfocused drawing. There is a link to art history. The shapes can form realistic figures or be abstract, surrealistic or expressionistic. Sometimes doodles can even contain cartoonic elements. Doodles are meaningful, even to a big company like Google. Check out: http://www.google.com/ search?q=doodle4google+history On Twitter you can find @thedoodledaily. When you follow Warren, you’ll see a lot of doodle’s. And you can join the global doodle contes. Take a look at http://tjomies.com/blog/?page_id=4374 for further details.

Quote: ”If 1000000 giraffes can be assembled in less than a year, then surely we can do the same with doodles.” Did you ever try this one: open up a newspaper and close your eyes. Move your left and right index over the paper and open your eyes. Write down both words near to your index and give yourself 1 minute to draw that combination. for instance: economic drunk, bridge collapse, biggest lie, serious handbag, human wave. You also can make up your own word combinations without a newspaper. If you think this is fun, try to do this with a group. I used to do this with my art students. After 20 minutes ( and 20 drawings) you can skip the initiating word combination and allow the group to sketch every minute whatever jumps into their mind. Now the fantasy can evolve in a doodle. There are lots of movie bits about doodles on You Tube. http://www.youtube.com/results?search_query=doodle

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Some examples: - furry road - divine arrows - flower shed - prickly lady - human wave - cranky apple - hungry water bottle -broken cloud - serious handbag - enthusiastic pill Dali was an extravagant person. This is what he said :

Quote: “In order to acquire a growing and lasting respect in society, it is a good thing, if you possess great talent, to give, early in your youth, a very hard kick to the right shin of the society that you love. After that, be a snob.”

If you can question society in your doodle’s, it has even a bigger impact to your viewers.


http://www.flickr.com/photos/doodledaily http://www.thedoodledaily.com Email for the contest: warren@tjomiesvintagestationery.com Twitartmagazine 2010 • 33


Visual rhyme

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Online art auction @140hours

“The world's first online art auction using TWITTER to enable YOU to purchase original artworks from our international collection of fine artists & photographers. 140hours is reinventing the art auction business and making it ready for the 21st century.” quote from http://www.140hours.com

Unique on Twitter is the online auction from @140 hours, an initiative from Gary Brant. People can bid on art. And invest in art in a simple twittering way. Just follow art : @140hours. Go visit their website and join the art auction. Or do you want to put your art for auction? http://www.140hours.com/works%20on%20 paper/index.htm

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Stay Tuned @twitartmagazine

Next issue all about: portraits

Email your contributions to: article@ twitartmagazine.com

“baby Pjotr” 2010 pastel crayon http://www.theagerritsen.nl @GerritsenThea

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Issue1 Growing