S10 te | NUDE and FIGURATIVE ART Special 9 Y wwrwartandbeyondpublications com market, promote, succeed from artist to artist - Barbara HazenERIC BADOUD LA FEMME A LA FENETRE. Huile sur foile 100 cm x 50 emYstudio publisher of WA ECVYONGIn. Art & Beyond Publications Deadline September 3, 2015 Don’t miss this unique opportunity to be published in the Living Artists of Today: Contemporary Art. vol./Ii Artist owned and operated by art professionals. Our goal was to create the most affordable and highly professional publications to help artists se/f-promote and market their art. Art & Beyond Publications invites all artists 18 years old and older apply to be published in a series of art books titled Living Artists of Today: Contemporary Art. To apply please go to www.artandbeyondpublications.com Entry Form can be found on the BOOKS page under the main menu 582juror's note The submissions for this year's Art & Beyond nude issue were refreshingly original proving yet again that the nude figure is an endless source of inspiration. The body in its natural state has been represented by artists since the dawn of time. Its planes and curves, light and shadow and infinite variety of shapes and sizes are hard for any artist - or viewer - to resist. As is evident in this issue, the nude lands itself to the pure challenge of capturing its beauty as well as being the perfect vehicle for narrative and expressive interpretation. | have made a selection that ranges the gamut of realistic to fanciful using a variety of mediums. These selected works pay homage to the words of American painter and teacher Robert Henri: When we respect the nude, we will no longer have any shame about it. Lilianne Milgrom, Iiiannemilgromcom Art & Beyond Publications would like to thank our wonderful juror, Lianne Milgrom, for taking on the difficult task of selecting winners for our Annual Nude and Figurative Art Competition - ‘The Body Seautiful’ for the Special Issue. We greatly appreciate her professional input and wish her great success in her multi-talented career in Art, Mila Ryk, Publisher Apply to be published in the Winter Print Edition to be presented during the Art Basel Week Miami 2015 Deadline October 15, 2015 http://www.artandbeyondpublications.com/magazine-entry For additional information contact 847.581.0518 * 224.388.0582 * mryk@art-beyond.com 4 Art & Beyond + Nude and Figurative Art + Special issue 2015Nude and Figurative Art Spec sve ieee) CONTENTS from the publisher Vol.30 + july * 2015 Welcome to the Ar Beyond annual uried Special Jssue; Nudeand FigurativeArt“The Body Beautiful re aos eae esha JuroftNote: Fine At = Photogiapiy © Sculpture feo sred rats Geel sis alias Bore ra ae oeeecatae eee ee ee er B ‘Traditionally the study of the human figure has. ‘The “Nude Selfio” v7 ec EAre| oe Siyocem 20 fever nvewacla ee nale apes Moe ‘emeGowee 21 ee a ee remo toms 22 qualities. The nude, and in particular the female by Va sie i Ed Hicks: 23 egies cigs ar 2 Mao Caor suey 2 idea oleh eee salle ue biteriows eres tte We at Art & Beyond Publications sought to highlight eam 10 Hichant Aeron 2 ‘the great artists who continue the rich academic ig sananemel Jerry Ralya 28 traditions in art today and showcase the beauty: menue a4 Nadine Robbins. 32 of their work in a new way using contemporary Allan Carancong le Nora Venturelli 33 ‘methods and an open mind. Kathryn Jacobi 2 ‘Sara E. Swan 34 Donadtaze 30 ate We hope you enjay the works that have been to Eitoy ee = ‘Morey Ann Villafaria 36 selected for this special issue and we thank all of the talented ass for ther contributions 4m this {sue you sil also find an interviews beautifully conducted by Justin Hoffman with Barbara Hazen, tian Wanoy, Allan Carandane, ‘Kathryn jacobi and Donald fizzo, which are giving us a deeper understanding of the art creating proces Congratulations tothe Caver Competition Winners: ‘Barbara Hazen for anwork “Rising Above won the Front cover forthe Special issue (p.10). ‘The inside Front Cover won Eric Badoud for his work La Femmea la Fenete” (7.1), The Back Cover won an artwork "Morning iad” by tian Wanov (0.14). ‘nd inside ack Cover was avarded to allan Barbara Hazen liyan Wwanov CGarandang for his work Truong" (p18), Congratulation tothe following artists who's work Inside Front Cover Inside Back Cover vas awarded to be published in the Special issue . ‘Nex Tolstoy, Donal Rizzo, Jerry Ralya, Kathryn Jacobi, Marcy Ann vllafana, Nadine Robbins, Nora Ventuell, Parick Berges, Ronna S, Hari, Sabina DiAntonio, Steven Lustig, Ed Hid, silly Gobine, Jane Gotlib, Manss Ava, Sara E Swan, Sigal Mille and Richard A Moore \We thankall ofthe talented artists who have been chosen to be published inthisissue and those who etcel hi erapaton Ere Bacou Pier rn Byrom ony ote nie moana eo fee venberhn Progam apcaon alae netpy/wnvartandbayondpubications com /m fvktsart-Seyendcompoint of interest by letrey Wiener Publisher, TheGreatNudet htte:/manuthegreatnudetv/ THE “NUDE SELFIE” KILLS “THE GREAT NUDE’ Before the internet, | found my community when | moved to NYC in 1986. With great anticipation, | began meeting other Figurative Artists, many of whom were here for similar reasons. Where I'm from, if you "paint pictures of naked people” you raised eyebrow: /s. Southern Galleries routinely declined exhibiting Nudes from the fear of offending customers. New York City felt like an oasis of artistic freedom. While just a handful of galleries exclusively featured figurative of the East and West Village regularly, as did my new eartists, | exhibited my Nudes in the funky galleries friends. We had each other's backs, and supported each other emotionally in tough times, when Nudes did not sell, which was our intention to begin with, ly day job was marketing, so my answer to this business problem was to bulld an online video magazine featuring my community. After several years of develonment, | launched TheGreatNudeTV in 2007, when YouTube was 3 baby, and no one heard of Facebook or Twitter. | created new epportunities to exhibit and sell Nudes to a public getting mere comfortable with nusity, producing several Figurative Arts fair, starting with TheGrestNude Invitationsl 2010 at the Rager Smith Hotel. This 5 day event featured some of the world's most well= known figurative artists. People stood in line on the sidewalc for tickets to see hard-to-find Nudes by these dedicated artists, So much has changed in such a short time. Artists are now Using Social Media to promote their Nudes publically, and with abandon, There is a new phenorenen for all of us older artists to aciust to: the freecom to post provocative images, Most figurative artists | have known have been contemplative characters, It comes with the territory, as the effort behing creating a work of art that balances both Beauty and Desire was often a thouahtful, strateaic process. Most of my peers were trained to think that in order to produce a true piece of figurative art, one should air not to sexually excite, but to inspite the viewer to a higher level of empathy. This used to be 2 private affair, where an artist struaaied internally to balance aesthetic and professional ambitions. We all desire artistic freedom, but finding homes for these Nudes was the challenge. Even 50, we drew inspiration fram those artists who used public commissions te push the limits of those two principles, to force the public to expand their acceptance of The Nude. (Consider how Michelangelo used the Sistine Chapel to promote his views en The Nude) 6+ Ar & Beyond + Nude and Figurative Ait + Speciallssue 2015) More recently, performance artist Mile Moire interrupted! festivities at Art Basel with her “Eo Plop” performance and offered Nude Selfes with wiling gawkers Using Marina Abramavic as intellectual cover, both she and The Huffington Post do a lot of damage by selling this as culturally relevant. Showcasing the "Nude Selfies’ of Molly Soda and Jillian Mayer as serious examples of Feminist Art validates these attention getting schemes, and encourages younger artists to do the same. And Artists who emulate this "Click Bait” marketing strategy of using The Nude for attention, are equally quity of burning a bridge to get to the other side. ‘At a time when the quality of the human condition is in leopard, lqurative artists risk beina seen as more concerned with how much nudity they can get away with posting. And s0 3 profound “flattening” effect on the figurative arts is under way, changing the way the public views figurative artists, how artists project themselves, and mare troubling, influencing the kinds of artworks that artists produce and promote as part of ‘our cultural commentary Perhaps the sense of freedom, or easy access to a larger ‘audience is too tempting, but many figurative artists are posting their most provacative Nudes onto the screens of their family, friends. and business contacts in order to gather "Fans. Artists seem to be challenging everyone's social mores en masse. The {2081 of shocking for attention, or simply flaunting this freedom for the sake of it, haz surpassed the ariginal goal of creating & piece of figurative art for sale Of course, these Social Media APPS make it easy. With a few clicks, a masterpiece is reduced to a postage-stamp size imageHow peerfeedback infiuenc artists may have lost site otse, lost their effective s You 1. Figurative artists, once high eaard for the purity o ir intentions, now ‘ornography anc! order to get a few min attention online, These are jot signs of a healthy arts 4ea of a “Great Nude" will ome a western cultural artifact if the Figurative Arts ‘ot Keot sacred by its practitioners. The Nude, as efire St entrepreneur te erous Medi promoted these days, may be sending ou for the times we live in. More troubling. T site TheGre: lose its value for inspiring deep cantemplation and em over 24.000 s: iis relegated to the categories of titillation, arovocation, oF ‘commonly used 95 an advertisement for so" ttooes notpoint of interest NUDE ART - REAL or GLORIFIED Whether we believe in Evolution or Creation, we consider the human figure beautiful! ls the human figure the perfect form? Are humans the highest form of life? Or are we part of the nature around us? ide art, Arti the human figure, for THE DREAM, 6/2015. Photographic Digital Collage, Photos and Xeays, 12° x 9" 8 + Art & Beyond * Nude and Figurative A“Art, in alll its forms, is the legacy of humanity.” - Vered Galor THE TORSO, 6/2015. Photographic Digital Collage, Photos and Knays,12" x9 The emotionally and the effect of human h more we reflect human sufferin physically sart and soul, in our better we can capture the human figure. gurative artw rk 's emotional and painful eates a reality that |had However, the creative proc in releasing emotio hem in my nd still have to live with. a way of helping which 1s and pressure, expres The artwork, which is done through the di layers my photog hy with my personal x-rays, which I have collected through the years. The images are not THE FIGURE, 6/2015. Photographic Digital Collage, Photos and Xrays, 12" x9 photography or paintings; they are layers of my though feclinas and reality. My images do net describe my body, but in an abstracted form, they reflect, They offe ¥y heart and soul through my physical color and structure with simplified figurative form that makes it easy to observe issues that are hard to live with, bec red and hidden like most of human's se they are ob: von. veredgalor.com vgalor@hotmait.com jondpublications.com + 9fine art + photography PERFECTLY IMPERFECT #25 Digital Photograph, 20° x 30" < PERFECTLY IMPERFECT #4 Digital Photograph, 20° x 30" Y Art & Beyond Interview with BARBARA HAZEN In. 2011 Barbara Hazen lft successful path asa pastry chef and put her creative talents into her longtime hobby: photograph. Inthe beginning, Hazen explored to diametrically opposed subject matters: street photography and studio still life photography. Her work has been shown in several venues in San Diego, San Francisco, and Mil Valley, california, Q What inspired you to leave your success in the food industry to pursue photography? A. after several years of running my cookie dough company, 1 had reached product representation in 50 Bay Area sores, ust as | was expanding to new resans, the Financial cris of 2008 happened and | decide to close. Photography had been along time hobby and, in a sense, 1 have always been a photographer. Even without a camera tam always looking atthe way light transforms normal objects into something new, or the beauty that can be found in many unlikely places. immediately and fully committed myself to elevating my photography skills and exposing myself to various photographic styles and processes. In retrospect, the Skil set for cooking and photography are very similar creativity, precision, deta composition, and te ability to work independently what tps could you share for getting your work showcased so quickly in your A. Peer review and mentoring are my primary sugestion. Get comfortable sharing your work in a dass of photo group. Ask your mentors, and comb photo ‘magazines and online fr lacal and national review opportunities that reflect your photographic syle o vision. Put your pints together ina nice portfolio and share! Sharing with professionals is essential to growth and to getting recognized. As not everyone wil ike your work, sten with a grain of salt, no one will cherish and believe tin the same way you do, could you describe your creative process? ‘A. |begin by thinking about the end result Fist, createand writea dialogue about the subject. What dot want to say with this image? | then envision the proces that suits the subject: Bs, colar, or alkemative process. once I start photographing, ‘my vision and dialogue generally shift, Staying apen to what Ise, versus what | expected to see, soften more satisfying and directs the project. fam dissatisfied with my inital results, ty to set ear, doubt, and criticism asde to figure aut what I donot like and try again, think that itis vital to see a project through. | may not lke the end result, or ever print an imag, but | have eared something about my ‘raft and about myelin doing sa, wom barbarahazen.com 10+ Ait & Beyond + Nude and Figurative Art * Special Issue 2015LES HIRONDELLES, Crayon sur popier, 2 emx22.em ERIC BADOUD. isa postmoxlem Ecclesiastes: in his painting “al isvanity" Everything | materializing it He throws his wll in a desperately inert world where is allegorical, but the skulls, at the same time, acquire a surgical | she can no longer take. Human vanity is thus constantly doubled by realty. The hyperrelism operates a kind of interference, at the limit between two worlds: the saturated presence of the figure frees it from the mere figurative, a the same time as it parasites the symbol by a sense of proper pictorial humor. Attp://www badoud fr badouddorange.fr www artandbeyondpublicMANICURE. Photography, 27" x 20" MANSS AVAL Manss is an artist and long-time fine art photographer who works and resides in San Diego, California, Inspired by Nature's patterns and textures his works transform inanimate objects into faces, designs and complete figures that present our environment in a different, more intimate perspective, AS primary medium he concentrates on photography, acrylic and oil on canvas, and mixed media techniques, Among his other interests are sculptures, video and film. He has a broad background in media, communications and the sciences (including a Ph.D), His fine art and photographic work has received many national and international awards, He has exhibited in over 50 juried solo and group shows in New York, San Diego, Laguna Beach, La Jolla, Los Angeles, Miami Beach and international venus, including Barcelona, Florence, London, Merida, Paris, Rome, Tokyo and Toronto with museum shows at the Louvre and San Diego's Athenaeum Museum, His creative work has been recognized by over 25 national and international awards: he is recipient of an International Fine 12+ Ait & Beyond # Nua! and Figurative Art + Art Photography Award, 2013, and was selected by Art Platform’s, Vanguard Visionaries project, Arttour International Magazine's Top 60 Masters of Contemporary Art” 2015, ArtBuzz 2014 Juried Fine Art Search, Winner in the 6th Artslant Showcase competition, 2014, YourDailyPhotograph.com, 2014, the International Art Festival Committee, New York, 2014, the Toronto Star Photography Awards, 2014, the Texas Spirit Art Show National Juried Art Campetition, 2014, Four Points Contemporary, Carsbad's William D. Cannon Art Gallery 2013 Juried Biennial, He was featured artist of Art & Beyond Magazine in 2014 and his work has appeared in several publications, including “Contemporary Art of Excellence”, "Internationale Kunst Heute - 2015", “Top 60 Masters of Contemporary Art’, and "The Art of Creativity His work fs available at the Maya Fine Art Gallery, San Diego, the Laguna Gallery of Contemporary Art, Laguna Beach, California and at the Embler Art Gallery, at the JFK International Airport, New York vormmanssaval.com lal sue 2015MTOM tie TCL eg TESOL eB AUT SU MS eres Tg SED era e lemme hl) Tae mea SRC aati rall Con mH OF ‘Ites Send an email or fill out the form on his website. DT UUER OES VMSA CORR a@Syisie tc] MMT ss ® Design © Hosting * Domains dustinDHoffman@gmail.com = — dJustinDHoffman.com(. why did you decide to pursue an art career? First of, need ta redefine the term "art carer” in my particular ease. 1 have asked my artist friends this hypothetical question: "imagine that you know that none of your paintings wil el forthe rest of your lite ~ would you continue to pain” For me the answer is obvious ~as an artist feel | have no choice but fo continue to make art because this isan important art of self identification. that said, | must admit that 1 have a profesional ‘ateet as a physician and scientist which provides fr life's necessities. am ‘often asked when twill come a “fulltime artist" but think | already am. | believe the time one spends thinking and mentally working on their arts what counts most Q. What wast ike to mentor with George Yanakiev? A. {met eorge when | wasin school he was one ofthe local antsts who was very avantgarde (geometric abstraction was not popular in 80s Bulgaria) A fellow student was taking dasses with him and she recommended it ‘George's studio was actos the steet from our apartment so he invited me EVENING MAIDS. Acrylic and Collage on Window Blind, 46" x 72" Art & Beyond Interview with ILIYAN IVANOV By Justin Hottman jan Wanoy, a native of furgas, Bulgaria, received his inter George Yanakiex. He has tually moving to New York. He has interactive series projects, in which postions. He has been to visit. With time, these vss became regular~t would bring my paintings (heavily based on symbolism and surrealism), and he would critique them iin his gentle and supportive ways. We kept in touch ater left Bulgaria but thon, shockingly, he passed away in February of 1999 just a few months belore he was to make a trip to the US. Even today when I paint I seem to “hear his instructions and |am sure that, even unconscousy follow some ‘of the aistc principals he helped me cultivate, Q. What is your ideal setting for creating art? A. nly current studio ~ which 1 moved to in 2012 with alot of help from ry family. tis located in Upper Manhattan/West Harlem overlooking the Hudson River. This is a magical part of the city that isnot traditionally associated with trendy art galleries and museums but has tremendous ‘cultural hertage. ts being transformed into what | would lke to cal "the New Cultural Nucleus of Nev York” powered exclusively by authentic local talents and ceathity rikka-arts.com 14+ Ait & Beyond » Nude and Figurative Art * Special sue 2015tudio publisher of YON Cin Art & Beyond Publications Don’t miss this unique opportunity to get published and be viewed by thousands of art professionals, collectors and art enthusiasts. Become a Member of Art & Beyond and your artwork will be added to the Online Gallery in addition to be published in the Online Magazine. Apply Online fol-LanolU|ar-]a mma lold (ecto! www.artandbeyondpublications.comfine art * photography SUMMER CORSICAN NIGHT, Acryique, 73 em x 60 em PATRICK BERGES Bom in 1958, Patrick Bergés gives life toa naive and colorful world. | Stoned houses, closed shutters, hanging clothes floating in the wind Wide colored tint areas painted with raw acrylicpaint arejuxtaposing; | and .. “cinquecento"fiat allude to the Mediterranean atmosphere shadows and volumes are suggested thanks toa black lineinthestyle | wellknown from Corsica to italy and from Greece to Spain, even it of the "light line"(inspred by the comic trip Belgian school) ‘other inspiring influences such as Brittany also contribute to his work ' wnmartactif.com/huront3 16» Ait & Beyond + Nude and Figurative Art * Special Issue 2018BIUE ADDITION. Postel on Fabriano Accademia -20095m cartridge paper, 19.6" x 27.5" SABINA D'ANTONIO | ama self taught full-time artist with a passion to creat, trying something new, you never know unless you ty, taking one day This is my frst try a life drawing, and may lsay....am having great | at time and seeing where it takes me. time. Never did | think about even trying my hand at this medium, maybe when | was younger and was more detailed with my art But not naw that | enjoy my creative freedom through abstract and contemporary works, | am glad | allowed myself to be talked into | hope that you find my work every bit as enjoyable to look at, as did in the journey of creating it. wnmabstractsbysabina.com leatioy “”fine art * photography BELA STRONG. Watercolor on Birch Plywood, 24° x 48" 18+ Ait & Beyond * Nude and Figurative Art * Special Issue 2018 Art & Beyond Interview with ALLAN CARANDANG by Justin Hottman Allan carandang is a freelance graphic designer and emerging painter. Orignaly from the Pacific island of Guam, he has lived in San biego, santa cruz, and currently resides in Seatle, As a dhild, he always enjoyed. drawing. and painting, however his career path did not startin Fine Arts, He began in architectural and interior design, eventually branching out int illustration and environmental graphic design. Earle this year he began devoting himself to watercolor. Hist sol show, “Love My Bare Naked," was at Satie’ 2015 PrideFest Queer Art Walk How has your degree in architecture influenced your painting ad drawing? A. Designing for architecture is designing for the human experience within a three-imensional space. Learning the proportions ofthe human body and how itrelates tothe built envronment is essential for makingit work, When laying out an inital sketch, ts helpfl to know the rules of proportion and perspective. | can uilize them to eeatea realistic rendering, or skew the ule to trick the mind's eye, (How do you bring senses other than sight into your drawing? |. Drawing on-location, or “en pein ai,” allows me to experience the subject much more thoroughly than | would if | were just passing through of taking a photograph. | remember the uneasy fecling of standing on the Hungerford Bridge two years ago and feeling the surface below me sway back and forth as I ketched the landscape that included the London Eye, the River Thames, and Westminster Abbey, | recall the heat beating down on my back as 1 began sketching, the cold taking over a the sun began to set, the smell foil wafting up fom the nearby tain tracks, and the boy begging his mom not to leave as he watched me draw. The events that happen while tm drawing ~ the sights, smells, temperature, weather, and soil interactions ~ all combine to cement a place, and sometimes a face, in my memory. (Q. what has focusing on watercolors done to your art? |. Watercolor allows me to take a break from my training as a line ants. frees me from rigidity, structure, and staying within the Fines. Because of its unforgiving nature, watercolor forces me to let go and not cae so much about the end product, Most recently, | have been experimenting with painting watercolors on birch plywood as a substrate, Finding the right dampness so that the wood holds enough pigment, without ver bleeding into the grain, hhas been the biggest challenge. Watercloritselt isan unprediclable ‘medium, but that unpredictability can sometimes yield incredible results winmacarandang.comANNOUNCEMENT ART & BEYOND MAGAZINE Special Winter Print Edition to be presented during the artebeyond | Art Basel Week Miami 2015 Don’t miss this unique opportunity to be published Full page article - $365.00 1/2 page article - $195.00 Full Page price included Cover Competition Apply online: http://www.artandbeyondpublications.com/magazine-entry/ Deadline October 15, 2015 Apply Online get your art noticed http://www.artandbeyondpublications.com/magazine-entry/fine art *« photography SARAH IN CONTEMPLATION. Acrylic on Canvas, 36" x 24” GILLY GOBINET. Antiguan artist Gilly Gobinet grew up in England, where she was born. Although wanting to go to art school, her mother advised her to get a “proper” career, as the ability to paint would never leave her. Thus Gilly gained a 8Sc Hons. Degree in Biological Sciences at the University of Sussex, after which she worked on the editorial side in a veterinary laboratory, as a ghost writer for a professor of epidemiology & social studies in a London teaching hospital, and finally as an intemational civil servant in Strasbourg, France, in the fields of nature conservation and public health, ‘A happy coincidence found her on vacation in Antigua where her husband was offered a job. Delighted with the prospect of a challenge rather than enduring bureaucracy, she dropped everything and moved there in 1984, seizing the opportunity of fulfilling her childhood dream of painting fulltime. Whilst bringing up her three young children, she slowly developed her painting techniques, mainly in watercolour and acrylic. Her subjects reflect the beauty and charm of the enchanted island of ‘Antigua and to this day, inspiration is never lacking. Many of her subjects are of Caribbean flora and fauna and marine art, although painting nudes, preferably from life, continues to be particular pleasure. She is happiest when painting and ever joyful when others take equal pleasure in her art. She has given various shows around the Caribbean and in Venezuela and has exhibited in galleries on different islands. At present she runs her own Art Gallery on the premises of her secluded waterfront residence on the east coast of Antigua. Gilly also specialises in pet portraits, particularly dogs & cats, working, from high res photos supplied by the owners sillygobinetcome.com owelygobinet.com 20+ Art & Beyond * Nude and Figurative Art + Special issue 2015JANE GOTTLIEB | have been expressing my joy of art with paint, shapes and colors since | was very young, | started as a painter, evolved into a photographer, and eventually began painting vivid colors on my Gibachrome prints over 30 years ago. | vas creating a wonderful new magical reality, before Photoshop. WOW. Digital Art. Now I scan my one-of-a-kind hand-painted prints and my library cof 35mm Kodachrome color transparencies taken over the last 40 yeats, and | paint, collage and enhance them with Photoshop. wwviwjanegattlioh.com \dbeyondpublications. com + 21fine art * photography MARITAL BUSS. Oil, 40" x76" RONNA S. HARRIS isa painter and has been a member of the Tulane University faculty | East Sitting Room), that became a permanent part of the exhibition, since 1989, Ronna has exhibited her work nationally in galleriesand | White House Impressions: The Presidents House Through the eye of museums throughout the United States. Her artwork is included | the Atist, he's represented by Steven Callan Galery in New Orleans. in six museum's permanent collections. She was commissioned by vnmweronnaharris.com ‘the White House Historical Society to create an original work, (The 22+ Art & Beyond * Nude and Figurative Art + Special issue 2015,SEXY ME Postel on Sended Board, 18" x24" ED HICKS | work mainly in oil and pastel am basically a figurative artist and tse photos and live models as my reference point. Recently, | have copied some of the Masters (James Tissot, John Singer Sargent, John Waterhouse etc) as a learning experience. | find this so valuable in learning their choice of colors, brushstrokes, compositional techniques, etc My favorite subjects are women because they are the most beautiful ‘creatures in our world, | am constantly experimenting with style and technique. A good Artist must evolve so as not to get stale. Some of my newer works are very loose and abstract nudes. | didn't lst them in the prospectus | was told they wouldn't use nudes in the Emerging Artist series bttp://wmmedhicksfncarts net com #28 www.artandbeyendpublicefine art + photography « sculpture they Jacobi ally list pate, a b for over 40 Q.Wihen did you know you were going to bean artist? A. L knew with some certainty in my ealy childhood that making images would hold endless fascination for me: a way of creating magic tt has lays heen my aspiration to leam how to accomplish this goal over your career you've worked on two distinct bodies of paintings how have thee collections interacted with each other? A. ay two bodies af work the ist from direct observation ofthe world, the second devin tation — have totally from my in paralleled each other and occasionally overlapped. t consider my Sensibility 1o be the connective tissue between them, ven in times when I've worked anly on imagined work, a model has come to sit for me at least once a week to keep the skill low for exacting fig from the discipline of working with the figure. The occasional book illustration always includes figures, which I can visualize and ive painting, The imagination benefits as well understand without direct observation How has technology changed the way you work A. since bounty firs ligitl camera in 2000, and simultaneously began learning to use Adobe Photoshop. photography has been an important part of my work. For the last 15 years Ihave played with photographing and manipulating my drawings, making many of them substrata of pieces, which ll then use to pant on. all these pieces Hybrids.” 1 alse love straight photography and have mainly focused on portrait and landscape images. also, using Photoshop to combine images into photomontages has proven an exciting process. For instance, in a series of about 50 pieces so far called "The child isthe Father ofthe Man," I've combined my contemporary photographic portraits of older adults with images of those adults. as children, How has your art changed during your career A. My work has always been an exploration ~a way to learn more about both my external and internal states. | have had many ‘medi, but the goal ha always been to deepen my understanding of the world a find it, an to develop greater sks to allow me to express growing insight of syle and technique, and have worked in many diferent ‘OPERATIC DUETS 2. Oil on Muslin on Panel, 48%30" kathrynjacobi.com 24+ Art & Beyond * Nude and figurative Art + Special lssuSTANDING TWIST. Tutkish Limestone, Granite, 3B" H x12" Wx 12"D STEVEN LUSTIG ginal Scul s & Drawine This artis born out of a love of the human form and its natural motion. itis powerful, passionate, and embraces both human and natural forms. Steven was born and raised near the North Shore of Chicago where he began drawing at age 5. In high school he met a regionally known sculptor and began his fine arts education, During that time, Steven was siven a copy of Gray’s Anatomy. He became fascinated by what he ‘aw and immediately began to draw directly from the book, changing the course of his life and starling a lifelong study of the human form. scholarship to Bradley University, He ‘completed his Bachelor of Arts degree at the University of illinois at Urbana-Champaign, with an emphasis on Biosechnica Illustration, \where he worked for the Biomechanical Engineering department. His early work combinin and human motion became the genesis of Steven's fine ar, regardless of media, He would go.on to draw, paint and sculpt thousands of interpretations of the human form in his own distinctive style. Steven moved to Southern California in the 80's to work at an Olympic research center focused on Sports Medicine and Biomechical Engineering. He quickly recognized the Steven received an at promise of what computer illustration could bring to traditional graphic design techniques. Steven has produced medical images for companies around the worl, illustrated four books, and completed a series of life science illustrations for the Nobel Prize winner for Chemistry atthe Scripps Research Institute in La Jolla, California, Throughout this time dedicating his lite to the arts, His fascination with drawing the human form continues to ignite his creative talen endless supply af material, Steven currently teaches a stone sculpting ciass at the Laguna College of Art & Design, and Digital Media and Photoshop classes at Golden West College. Steven continued to draw and_ sculpt, and provides him with ar www steventustgfineart.com Attp:/wvow.biodcomm.com ttandbeyond) ns.com #25fine art * photography BUTTERFLIES. Pencil, Charcoal and Oil, 135 em x 93 em SIGAL MILLER ‘Sigal Miller was born in Haifa, Israel in 1965. She is an atist and is ‘a member of the Israeli Artis Association, Sigal creates realistic figurative paintings focusing on the women's naked body and touches through it the essence of being a woman, ‘woman's sexuality, her emotions, her dilemmas and her feelings. ‘Sigal works on big canvases with acrylic colors and oil Exhibitions Sigal participated in: 2005 - At the Kastra Art Center, the curator was Ti Israel 2007 - The Woman's Image - at the Kriger Center 26 « Art & Beyond * Nude and Figuratt 2007 -Famina Festival - at the Kastra Art Center - Curator Tsvi Israel 2007 - Final Exhibition of Tsvi Israel's Workshop Center, Haifa at the Congress 2008 - A Scent of a Woman in My Room -at the Horas Richter Gallery in Old Jaffa, The curator was Kineret Avivi Last year Sigal won an award at the AmericanArtAward 2014 ap amerianatawards.con2014-0i-human-igune-winning-aris-313305 htip:f/w»martilnetsigal_miller tetKAREN Pencil and Charcoal, 32" x48" RICHARD A. MOORE III |lam primarily a sculptor, but from time to time, when inspiration strikes, | enjoy drawing, painting, etc About the artwork. The picture that 1 am sending you is of a friend of mine, Karen, ‘who was struggling with addiction, In the midst of her addiction, she asked me to take some pictures of her; to be reminded of how emaciated and awful she not only looked, but felt. At the time the pictures were taken, she was not holding a gun. I decided to ad it after the fact to enhance the artistic composition, and to help tell the story of her addiction alittle better. wovwrichardamaore3.com nww.ortandt Jplications.com + 27fine art * photography NOON. Pastel, 12° 16" JERRY RALYA | make art to try to convey heauty that | see and feel. The subject must mave me, and | attempt to capture this and pass it along. There are qualities of light and form that I seek to catch. Art can be defined a lot of different ways, Here's my definition: Good artis something your heart “melts into.” That is, it takes us out of and beyond ourselves, to connect with some universal value. think this definition might work forall of the arts, not anly the visual ats | think | may even have invented this definition myself (At least | don’t recall reading it anywhere, | studied at the Art Students League in New York City for six years There are many fine instructors there, but the one who influenced me the most was Sherrie McGraw, My art took aff in earnest after moving to Vermont in 2003, when | hit on my current style, (cal it “saturated pastels. ve always been 28 « Art & Beyond * Nude and Figurative Art + Special lssu 201 in love with that particular red, and since late 2004 I ave stuck with it, im the reverse figure-ground way that you see. Tht is, the figures, which are light-colored, are the bare paper, and | draw in the dark red background and shadows. | was born in Lansing, Michigan, educated at Michigan State and ‘Stanford, "ve lived on both the East and West Coasts of the United ‘States, and for nine years in France and Germany. Ive also traveled ‘around much of the world My art has been shown in galleries and museums from San Francisco ta Hungary, There are also a few individuals who are collecting my art, to my great pleasure, jertyralya.comAdee. artebeyond MARKET. PROMOTE. SUCCEED. @ ET NOTICED! arebeyond artebeyond SES ey va Le] www.artandbeyondpublications.comfine art + photography Donald Rizzo isan American artist who has described his technique as Abstract Verism VITAMIN.D DEFICIENCY. Acrylic on Canvas, 36% x38" Art & Beyond Interview with DONALD RIZZO be art that does not attempt to represent external reality, bu rather uses shapes, forms, coors, and textures to achieve effect, an uses a style of portraiture that i hyperealsic, emphasizing that every wrinkle ad Haw be present. For him, every painting sa fragmento his self-portrait, and he aims to hide nothing n 2014 Rizzo had four sola shows: life Rebuilt Journey Into and Out of the Depths of Despair; Gay fe: Fiction, Fantasy or Actuality Shades of Puple, and Community: A Collection of Portas, He currently has peces in galleries in Florida ard California Q. Whats your artistic goal? A. To create Ar, Edgar Degas said, “rt is not what you see, but what you make others see” 1 say that Artis the activity that occurs in the space that exists between a viewer's eyes and the object | have created, It isthe interaction between the collective experiences in your brain as you process the way | have chosen to express thecalective experiences in my brain, tis only when this exchange takes place that my work becomes At When I see the moment of realization as people experience my work, after spending ‘over 100 hoursin my head, when i see their eyesight up— that is priceless. It isin that moment when my work truly becomes Art Q.can you describe your perfect situation for creating? ‘A. Unfortunately, 1 would say that the perfect situations have been during difficult or dark moments of my ie. have experience with severe depression and psychotic symptoms. 1 came to realize thatthe visual and audio hallucinations 1 was experiencing were actually my sub-conscious ‘mind attempting to communicate with my conscious mind, My two minds 30+ Art & Beyond * Nude nd Figurative Ar best communicate during these dificult and dark moments of my life. not sure if my subconscious mind i yeling of my conscious mind is more iemty listening, but whatever the ease, itis in these moments that | more clearly comprehend the message. In this way, | believe my art uses the viewer’ conscious and subconscious mind What role has attaining had in your work A. 1 took some painting clases at San Francisco Gity College with James Torlakson. | started exploring painting during my psychosis to understand the visual hallucinations 1 was experiencing. had no concept of color mixing, but hada vision of where | wanted to go and ust needed to develop the skill, the frst assignment in this class was a color chart this was my eureka moment. started to understand color mixing, color temperature, and how these affect perceived depth in painting. as | began to develop ry awn process | asked James if cauld try something diferent in cass, and fhe was very encouraging. At one pint | asked him how one pants glass as it isseen through a window. He responded, “Paint what you see, not what you think you se." have been painting what ee eversince. sue 2015DANCE OF A RELATIONSHIP. Acrylic on Canvas, 36x 52" Q. can you describe the process of “fragmenting” a vision ~ which then becomes the artwork? A. Fragmenting i a journey with an unknown destination. | start with an image that speaks to me, although | can't say why it speaks to me; it fsa feeling. Then | look for a second image that has a shape pattern that could work with te fist image. with my Ambiguous Delusions, tam creating two paintings: one that can be viewed ftom afar and the second that can be ‘viewed up close Fach has ta have sound design principles, which becomes 4 factor when selecting the second image. then adjust the color and color temperature in the images so that inthe viewer's eye parts of the image move forward and others recede. Multiple coats of paint achieve texture, Its important to remember that when a viewer looks ata painting they Aare seeing reflected light. The smoother the painting the mare direct the rellecion, and the more textured the more catered the light My paintings are comprised of individual fragments of coor, which the viewer compiles into something recognizable in their mind. The further the viewer is from ‘the painting, the more mixing, andthe closer they are the less mixing. At some point during this journey heat my subconscious and comprehend the destination. Each viewer wil use their own lif experiences and background to hear their subconscious and adjust to their own destination, With each painting these destinations may be different forthe viewers and |, yet we have all raveled the same path tp:f{donald-rizzocom wwwartandbeyendpubllPE een oneec) NADINE ROBBINS POCO ema Ceara a ae Pee mae eas cna CaN om Oe em Cee eT cc she achieved considerable success as the On eee eae eee ed her brother she painted as a young git! and ee eee a eae Sree ae ce ame eee egg eae a ene Ree cnr es fascinated her. twas time to revisit her past and creatively start over. Pre ee Lo nce starting point of her paintings. She rejects traditionally’stagea! portraiture, and prefers. to convey life, emotion, and authenticity Bre cae! Dee ae ee DO cc Ee es PreMed of Portrait Painters two years in a row (2010. Seer ca Gown, was hailed by critic Keith Shaw as eae ne Berkshires outside The Sterling and Francine erent ee mY Pee ieee aed Bee cee Ue) cuca CT eee ae no Cree Rone om can art citi, John Seed, chose Robbins’ Mrs Cree ae one ene Fentarsa ae MC ey oe nn was then inspired to write a second article— Sn ne cre ee ee none Ce ee aad the prestigious The Tullman Collection in oe DeeNea NCEK or ekeced Cro NORA VENTURELLI Reon ae cee SC immigrated with her family to California where she graduated en eo een eet eee alternatively in both countries since then. During an interim tiving et ck ee een been living in Ann Arbor, Mi for the last 22 years. In 1995 she ‘graduated from the University of Michigan with a Bachelor degree ee en ce ge es ec Se eae eee eee SO en on an eee ee eect where she teaches drawing and painting. Norais represented by the Pte eae Peet ee ay Serene ee eae oer ce ae)fine art * photography SARA SWAN Sara Swan's art incorporates the human figure, body language, costume and vintage fashion. She works in a variety of mediums including chalk pastel, oil paint on canvas, and cil sticks. The drawings you see are based on simple sketches Sara does in a weekly lite drawing class. ‘She uses those basic drawings to create larger and mote detailed images. Sara creates a balance of intense colors, mainly reds and oranges, with more neutral and subdued colors in each drawing. Her art deals predominantly with the female igure FIGURE WITH CLOUDS, Pastel on Paper, 18" x24" ‘ara studied design at UC Davis, and illustration at Art Center College of Design. She began her career as an illustrator, working for book publishers, newspapers, and both regional and national magazines. ‘She now devotes herself full time to fine art, always keeping an eve ‘out for the ideal subject for her next piece. 34+ Art & Beyond * Nude and Figurative Art + Special issue 2015,Les ur. Watercolor, 10x 12 ALEX TOLSTOY Alex has studied watercolors since 2008 with influences and inspirations from such classic master artists as LMLW, Turner, Andrew Wyeth, John Singer Sargent, Whistler, Homer, and more. Contemporary masters who are much admired include Thomas Schaller, Roger Whitlock, Roycroft, Lovett, Josepth Zbukvic, and others. ‘Alex was born in New York City but grew up in DC. She wasa research scientist (mathematician, actually) for over 40 years (specializing in Ocean Acoustics over the past 30 plus years) Alexis an award winning watercolorist and a member of the McLean Project of the Arts (MPA) the Art League of Alexandria, the Maryland Federation of Art Society (MFA), the McLean Art Society (MAS), the ‘Washington Project for the Arts (WPA), and the American Watercolor Society (AWS) She is also a member of the Foundry Gallery of DC ‘Alex is married to photographer Ron Colbrath who is a constant source of enthusiasm, creativity, and encouragement, and her work isin private collections and fas been or wll be seen in: the Foundry Gallery (DG, the Torpedo Factory (Alexandria, VA), the Circle Gallery Annapolis, MD}, NYC, Scotland, and elsewhere wonmatolstoyartcom ww publica}fine art * photography MARCY ANN VILLAFANA was born in Southern, California in 1968, she currently resides north of Austin, Texas in Cedar Park, Working ina variety of mediums, including charcoal, conte, paper, a variety of paint types, photography, and graphic design, Marcy Ann hhas been exhibiting and selling her art since the late 80s, and has taken time in between to raise a family and grow a thriving career in sraphic and web design (ModCat Design] for the past 27 years. LADY IN RED. Chaveool and Pastel, 48" x 34" Currently she is enjoying rebirth of her creative outlets. Marey Ann is exploring an old love for drawing through anatomical studies of bone and muscle and perfecting, leading to enhancements in the quality of her paper art, which is now driving the exploration into the three-dimensional area, one VillafanaArt.com 36 + Art & Beyond * Nude and Figurative Art + Special ssue 2015,Ystudio publisher of WA ECVYONGIn. Art & Beyond Publications Deadline September 3, 2015 Don’t miss this unique opportunity to be published in the Living Artists of Today: Contemporary Art. vol./Ii Artist owned and operated by art professionals. Our goal was to create the most affordable and highly professional publications to help artists se/f-promote and market their art. Art & Beyond Publications invites all artists 18 years old and older apply to be published in a series of art books titled Living Artists of Today: Contemporary Art. To apply please go to www.artandbeyondpublications.com Entry Form can be found on the BOOKS page under the main menu 582WWW.ARTANDBEYONDPUBLICATIONS.COM Market. Promote. Succeed. Art & Beyond Publications is offering an array of Memberships for Artists in order to promote their artwork using the Art & Beyond Online magazine, Online Gallery and the print version of the Art & Beyond Magazine. This is a great opportunity for artists to promote themselves and gain additional exposure not only in the United States but Internationally. Basic Membership: $175 Silver Membership: $275 Gold Membership: $415 For detailed information about Membership Program and learn how to apply please go to: http://www.artandbeyondpublications.com/membership/ALLAN CARANDANG || \ Leite i | 4 ey TRUONG. Watercolor on Birch Plywood, 24" x 48"ILIYAN IVANOV MORNING MAIDS. Acrylic and Collage on Window Blind, 72" x 36