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Art in Black & White @ Vespas :: Fotos

Posted by Roberto Macedo Alves on Oct 11, 2009 in Music

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On September 26th, Nelson Camacho organized a Party in the famous “Vespas” here in Madeira, called “Art in Black & White“, where some artists were invited to paint “live” from midnight to 4 AM. The website Madeira by night made a very nice Photo Report.

Some photos of the event are here (the complete photo set is here):
The work I did during those 4 hours: a little mix of legos, pop, Angelina, Hayden, Kenneth Cole and Banksy! … an eclectic mix of popular references, as nice Neo Pop Art should have!
562 Ricardo Ferreira, the Gallerist from the Mouraria Art Gallery – who did a wonderful site-specific installation with a scanner, a printer and the hands of many voluntaries:614 Bruce da Silva and the theatre group he is a part of – who did a great performance that night:467 We all had lots of fun! What a great event!

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More watercolor practice: Herbert von Karajan

Posted by Roberto Macedo Alves on Jun 14, 2008 in Art

Just to play around and experiment with watercolors: Herbert von Karajan, after a photograph by Siegrfried Lauterwasser, Karajan’s favourite photographer. The drawing has Icky fingers. And Icky Ear. But hopefully it wil improve with some practice.

According to Herbert von Karajan, a biography written by Roger Vaugham (W W Norton & Co, 1986): “(…) when it comes to photographs and Karajan, the rules are strict. Generally, he wants to approve any photo of himself before it is printed. His two trusted ‘house’ photographers – Emil Perauer and Siegfried Lauterwasser – had been shooting during several rehearsals.

That was quite a way to control how our image is seen for posterity!

In 1960, when Karajan had opened the Festpielhaus with Rosenkavalier, there had been a pitched battle over photographic (as well as televised) coverage. Taking liberties with the German language, the American show-biz weekly, Variety, had carried the headline, ‘Photogs Won’t Heil for von Karajan; Threaten Salzburg with Boycott.’ Karajan, the story went, had issued an edict that only one German and one Austrian photographer would be allowed to cover the event. He had planned to give free copies of the approved pictures to tall the papers. The press hit the roof. Karajan relented, said he would allow two German and two Austrian photographers. (…) Since then, there has always been a ‘photographer’s rehearsal,’ and it has always been a tense situation (…)” (Vaughan, 1986)

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