Artículos

In 1961, three years after they met in Paris, Christo and Jeanne-Claude began creating temporary works of art in public spaces. In 1961, Christo imagined wrapping the Arc de Triomphe.

In 1962-1963, he created a photomontage with L’Arc de Triomphe, Wrapped, seen from Foch Avenue, and again featured the Arc de Triomphe wrapped in a collage in 1988.

He began actively developing this project in 2017, and now 60 years later, it will finally be realized. “It will be like a living object which will move in the wind and reflect the light. With its moving folds, the monument's surface will become sensual. People will want to touch the Arc de Triomphe,”  Christo said.

Next week, The City Beautiful will be dedicating two virtual events to arts and culture as part of the City of Orlando Black History Month.
We are thrilled with this initiative, and we want to share the schedule of events in which you can participate.

| Estimated reading time (ERT) : 1 minute, 58 seconds. Contains 394 words |

Understanding the value of Fine Art and identifying what elements differentiate it from Commercial Art is not always an easy task, the line between both can be very thin for the inexperienced eye. 

In this short article, we have put together a list of three questions you can ask yourself to determine what kind of art you are getting. It is also a good guide to understanding why Fine Art and Commercial Art are priced differently. 

En el conjunto de edificios de La Défense, el más importante enclave internacional de negocios de París, se erige sobre las vías de circulación la Torre Trinity, un nuevo paradigma arquitectónico. Esta imponente estructura de 140 metros de altura y 49.000 m2 de construcción, se ha propuesto reinventar la vida de las corporaciones que ocuparán sus 33 pisos de oficinas. 

Before talking about the Swiss-Costa Rican artist Carolina Guillermet (1979)

and her proposals in development, it seems appropriate to take a look at the universe
of abstraction for a moment, a tendency that transformed the vision of the world
through art. In the first place, I turn to Kathleen Hall, a student of this movement
who, referring to the emergence of Abstract Art at the end of the 19th century and
especially to the founding fathers of the movement, Wassily Kandinsky, Frantisek
Kupka, Piet Mondrian and Kazimer Malevich, expresses that these artists felt
themselves as the messengers of a metaphysical world and communicating this
knowledge became the goal of their art. The language with which these artists
translated their vision of that world was abstraction: "they were scribes who painted
what could not be said with words”. 1

El encuentro con este "soñador'' fue posible gracias a los avances de la tecnología, que permitió esta grata conversación con un hombre que desde la distancia, está más cerca que nunca de su tierra y de promover iniciativas que para muchos son impensables en contextos abrumados por la crisis.