Activist group claims news channel owned by billionaire cancelled programmes criticising Israeli government
Category Archives: Stories
The popularity of the ‘less is more’ look is putting art and antiques dealers under pressure
BY VENIZELOS G. GAVRILAKIS | Senior Expert Artworks Conservator & Restorer
Artwork conservation and restoration is a scientific field that necessitates a clear understanding of the term “conservation and restoration” and its purpose. This understanding helps us recognize its necessity and the significant contributions it makes to cultural, social, artistic, and historical spheres. It underscores the imperative need for the conservation and restoration of each work of art.
To properly grasp the concept of “conservation and restoration,” we must delve into the purpose and specific conditions of a work’s state and preservation. The natural decay of cultural artifacts over time or due to environmental factors has historically necessitated the development of methods to preserve and safeguard our cultural heritage. This ensures its transmission to future generations in as authentic and resilient a state as possible. Throughout history, various spontaneous and often misguided preservation efforts have underscored the urgent need for a formal “conservation code.”
The proliferation of private art collections, particularly from the 17th century onward, further emphasized this necessity. Over centuries, this code has been established, adapted, and refined according to prevailing perceptions, ideologies, and practices, culminating in the formalization of the conservator and restorer profession in the 18th century.
Through these developments, the field of conservation and restoration has evolved into a science tasked with restoring damaged or altered works to their original state, ensuring their preservation in history while also meeting functional or utilitarian needs, depending on the nature of the work.
When defining “conservation and restoration,” it encompasses scientific research and study, the application of specialized tasks and methods, and the comprehensive care of artwork to conserve and restore it to its original form and resilience.
The conservator-restorer, akin to an art doctor, is responsible for administering “treatment” to address damages, changes, and alterations resulting from time, nature, storage conditions, and human intervention. Additionally, the conservator-restorer provides ongoing care to prevent or mitigate future decay.
Interventions in conservation and restoration can be categorized into those concerning the preservation of the artwork and those related to its aesthetic restoration. The former involves rescuing and preserving the work, while the latter aims exclusively at its final aesthetic enhancement. The extent of restoration to the original form of the work also needs to be assessed based on the “legibility” of the subject it depicts or represents.
For instance, in a painting or religious icon, varnish oxidized by time and climatic conditions or other accretions may have rendered the painted subject hazy and indistinct, necessitating the cleaning of the painted surface to restore its clarity and “legibility.”
Conservation and restoration work is carried out by specially trained, experienced, and professional individuals within scientifically organized studios, utilizing both mechanical and chemical methods, as well as microscopes and magnifying lenses. Each treatment is conducted with absolute respect for the aesthetic, cultural, historical, and religious value and significance of the artwork, preserving its authenticity and potential functional and utilitarian value.
To determine when an artwork requires conservation and restoration, careful research and study by an expert professional conservator-restorer are necessary. However, some obvious signs, such as a “blackened” or hazy appearance, efflorescence, “bumps,” or detached parts, can indicate the need for immediate corrective conservation interventions. Ignoring these signs may lead to the total destruction of the work over time.
The intervention of the conservator-restorer is crucial not only for the preservation of the artwork but also for the preservation of history, culture, and humanity. The transfer of an artwork into the future reflects the unique connection between the art of its creation and the science and art of its conservation and restoration.
Through their treatments, the conservator-restorer communicates through hidden artistic codes with the primary artist, the creator of the artwork. Together, through the preservation of the artwork, they pass into history and time. It is necessary to conserve and restore every artwork to ensure its continuity and recognition through history and time.
As Cesare Brandi stated in his book “Theory of Restoration”: “In reality, even if its recognition (the artwork) must occur each time in individual consciousness, at the same time the artwork belongs to the collective consciousness. The individual who enjoys this immediate revelation feels the need, as imperative as the ethical need, for preservation. Preservation extends on an infinite scale, starting from simple respect and ending in the most radical intervention, as in the case of detaching frescoes or transferring paintings onto wood or canvas.”
Venizelos G. Gavrilakis is a highly esteemed senior expert in the art conservation and restoration of Byzantine icons, historical paintings, artworks, and antiquities, renowned worldwide for his exceptional expertise. With a strong academic background, Venizelos graduated from a Ministry-certified conservation and restoration faculty in Greece, specializing in the conservation and restoration of artwork and antiquities. He further honed his skills through dedicated studies in paintings restoration and conservation at the prestigious Conservation Fine Art Faculty of Palazzo Spinelli in Florence, Italy. Since 1994, Mr. Gavrilakis has served as a senior expert art conservator and restorer, undertaking numerous noteworthy projects across the globe.
His remarkable career includes managing director positions at conservation laboratories in renowned institutions, collaborations with galleries and private collectors. He is an art-writer and contributor to The World Art News and others. Mr. Gavrilakis is a member of KMKD Kültürel Mirası Koruma Derneği (Association for the Protection of Cultural Heritage) as far as also member of AIC, IIC, ICON, ICA and other heritage culture associations. He is the owner and president of VENIS STUDIOS, a leading art conservation and restoration company headquartered in Istanbul, Turkey. The studio is dedicated to delivering exceptional services worldwide, combining the science and art of conservation and restoration, ensuring the art preservation of historical artworks and monuments at the highest level of craftsmanship.
Also Read
Restoration and Conservation: Elevating the Market Value of Art, Antiques & Collectibles
The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Art and Science of Conservation and Restoration appeared first on World Art News.
Aurora Daigle, born and raised in the enchanting city of New Orleans, is an interdisciplinary artist whose work captivates the essence of her vibrant upbringing. A graduate of the San Francisco Art Institute with a Bachelor’s in Fine Art, majoring in sculpture, and a Master’s degree in Creative Art Therapy from Pratt Institute, Aurora’s journey into artistry is both profound and inspiring. Her practice, which incorporates natural and found materials along with various printmaking and painting techniques such as relief on wood or linoleum, silkscreen, and acrylics, aims to restore and cultivate relationships with the self, others, and the earth.
In this exclusive interview, Aurora delves into her childhood experiences, the powerful influence of her family matriarchs, and how the rich culture and history of New Orleans continue to inspire her work as a ceramicist and artist.
Can you share details about your childhood, family, and the environment you grew up in? Were you an artistic child?
I am the youngest and only girl in my family, raised by an incredible mother who single-handedly nurtured my three older brothers and me. She instilled in me a deep sense of freedom to express myself fully, and her boundless love and vibrant spirit continue to inspire me. Growing up in New Orleans, Louisiana, immersed me in a world of enchantment and mystique. The magic and spirits in its swamps captured my imagination early on. New Orleans is undeniably filled with creative expression, bursting with colors, sounds, charisma, and romance.
From a young age, I possessed an active imagination and a love for dance. I vividly remember writing letters to fairies who I believed dwelled around our home. Whether dancing barefoot under ancient live oaks, on broken sidewalks, or in the aisles of the Winn-Dixie grocery store, I inhabited every space with a sense of fluidity and artistry. Movement became my language, reflecting the softness and grace I absorbed from my surroundings and experiences.
What inspired your journey into becoming an artist?
My journey into artistry was deeply influenced by the women in my family—the matriarchs. My grandmother, my mother, and her sister were true artists in every sense. They infused beauty and meaning into everything they touched, whether it was through celebrations, food, quilts, or a simple conversation. Their care for each other and their families was an art form in itself, and it ignited my own artistic spark.
The power and beauty of Mother Nature have always captivated me. From wild tropical weather to lush flora and fauna and the rhythmic movements of bodies of water, I find inspiration in the intricate dance of life. I feel a profound connection to the natural world and strive for a reciprocal relationship with it through my work. Additionally, I’ve always been fascinated by the rituals, customs, and ceremonies that shape people’s lives and connect them to their communities, plants, animals, and the earth itself. These elements form the foundational inspiration for my artistic expression.
New Orleans is a city rich in culture and history. How does your upbringing in New Orleans influence your work as an artist and ceramicist?
New Orleans, a city steeped in rich culture and history, has profoundly shaped my journey as an artist and ceramicist. Growing up amidst its vibrant tapestry of diverse influences—from the echoes of ancient practices to the resilience of its people—I found myself drawn to the beauty found in imperfection and the depths of emotion.
The city’s complex history, like a patchwork quilt woven from the threads of diverse cultural legacies, inspired in me a deep curiosity about animism and reverence for ancient traditions. The palpable remnants of the old world around every corner fueled my fascination with sacred practices and the stories of those who lived in harmony with their environment, as well as those who boldly resisted and liberated.
My artistic expression often revolves around themes of rebirth, world-building, and the sacred feminine—a tribute to the resilience and wisdom that New Orleans embodies. Just as water holds memory, my connection to the winding river that cradled me remains intrinsic to my work. Creating vessels that hold water or letting water hold me is a continual homage to this connection.
Growing up in New Orleans also instilled in me an awareness of the potent influence of figures like voodoo priestesses—women who wielded knowledge, wisdom, and the power of herbs and word spells. Their legacy resonates in my art, where each piece becomes a portal to a world both ancient and newly imagined—a sanctuary where the denigrated artifacts of feminine power are honored and restored.
I was told by a friend recently that they can see expressions of New Orleans in my ceramic pieces in the colors, textures, tones, and shapes, the subtleties, and the details. I think that is unavoidable due to how much I’m endlessly in awe of the beauty that exists in this big little city.
In essence, my art is an ongoing narrative of homage and creation. New Orleans continues to be my muse and my guide in this journey of artistic exploration and discovery.
Reflecting on your art career, can you pinpoint any significant events that greatly influenced your artistic development?
In my twenties, I lived in the Bay Area and attended one of the oldest art schools on the West Coast, nestled in the vibrant city of San Francisco. This period was pivotal for my artistic growth. I discovered firsthand the profound impact of art on human existence and began to understand its critical role in our survival.
During this time, I encountered artists whose work resonated deeply with me and expanded my artistic horizons. Icons like Ana Mendieta, Wangechi Mutu, Simone Leigh, and Kara Walker not only fascinated me but also challenged and inspired me to explore new depths in my own creative journey. Their contributions left an indelible mark on my artistic perspective and continue to influence my work to this day.
How do you generate innovative ideas for your art?
I spend time alone. I observe and I listen.
As an artist, what challenges have you faced and overcome in your creative journey?
I have grappled with significant self-doubt, questioning whether I deserved a place in the art world and whether I had the capability to succeed. Logistically, finding dedicated space and time for my artistic practice has been an ongoing struggle. Balancing the demands of life with prioritizing my talent and desire for self-expression has been a challenge. However, as I’ve matured, I’ve come to realize that art is not just a passion but a vital tool for my survival, healing, and personal growth. This understanding has empowered me to confront these challenges head-on and continue to evolve as an artist.
Part 2 is Coming Soon!
Also Read
Lucie Rie’s Ceramic Bowl Shatters Records, Sells for €406,800
Interview organized by Chevy Wolf. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
The post Exclusive Interview with New Orleans Ceramicist Aurora Daigle | Part 1 appeared first on World Art News.
The ever expanding event has touched down for a four-day art extravaganza
The New York-born artist, who has lived in Canada for more than half a century, explains how she bypassed sexism in the 1970s to teach herself photography, and why she will always be connected to the US
Livraria Lello’s charitable arm, headquartered in a 14th-century Gothic monastery just outside Porto, seeks to educate visitors through its inaugural exhibition
A scheme by the non-profit Create London will convert the Newham building into a culture and learning centre
At time of rising overheads, smaller dealers are finding it makes sense to share gallery spaces and fair stands
Museums are addressing a lack of in-house expertise in creating digital content by hiring from a growing pool of social-savvy freelancers