1. sssSHIBARI.com PROMO 30sec

    00:31

    from Michael Wisnieux / Added

    980 Plays / / 0 Comments

    http://sssSHIBARI.com ~ Downtown LA ArtWalk ~ Celebrating the Sensual Scorpio Season ~ the Ancient Japanese Art of Rope Bondage Th 11.13 • http://facebook.com/events/831755000197414/ OPENING Sat 11.29 • http://facebook.com/events/1460502960855408/ CLOSING PROMO FEATURING: • Dominus Feenix, rigger • Brenna Rhea, Shibari Acrobatic Artist • Miko Dannels, photographer • MATTEO, editor • WIZNU Logo by Nicole Ellingson • Michael Wisnieux, Producer A DOWNTOWN LA ART WALK EVENT Receptions with Art & Artists: • George Joaquim, painter • Brenna Rhea, Shibari Acrobatic Artist • Miko Dannels, photographer • Michael Wisnieux, photographer • MATTEO: videosculptures.com LIVE PERFORMANCES 11.13: • Dominus Feenix, rigger • Brenna Rhea, Shibari Acrobatic Artist • Miko Dannels, photographer • Christopher Kollins, percussion LIVE PERFORMANCES 11.29: • Anja Knees & Nikki Nefarious DOWNTOWN LA ART WALK — http://facebook.com/downtownartwalk/events http://downtownartwalk.org/galleries/ http://downtownartwalk.org/directions/ Several galleries open at noon… The Art Walk Lounge is open 6p->10p at 634 S. Spring St.; bars & WIZNU Labs stay open later. ~•~ Location: ~•~ WIZNU LABS 724 South Spring St. #703 Los Angeles CA 90014 in L.A.'s most progressive neighborhood, Downtown Los Angeles' "Historic Core." GoogleMap: http://goo.gl/maps/jatCs WIZNU Labs, aka http://Labs.WIZNU.com/ • FILM • ART • PERFORMANCE • RECORDING • Immaculate Conceptions… Painless Execution.

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    • Phoenix Ancient Art at the International Fine Art and Antiques Show- October 2014- Park Avenue Armory

      03:54

      from Phoenix Ancient Art / Added

      168 Plays / / 0 Comments

      BRONZE HERAKLES- The statuette is a masterpiece of ancient bronze casting. It is a work striking for both the beauty and the perfection in rendering of the human body: the naturalistic approach for the shapes is combined here with the knowledge of styles from the Classical period; the interest in details is stressed by employing additional techniques such as chiseling and inlaying. The figure represents Herakles, the most famous ancient Greek hero, in a dramatic moment of one of his labors – the right arm holding the club and raised high above the head is ready to slush, the right leg is advanced and bent at the knee, the torso is inclined forward following the same vigorous movement, the muscles of the entire body are rendered in great tension – everything showing the climax of combat before the hero’s victory over the adversary. The first things to discuss are the subject matter and the composition. What precisely is the depicted labor? Was it chosen from the canonic twelve deeds of Herakles, or from the stories telling additional adventures of the hero? Was this figure connected to another one to form a sculptural group, or were they merely set side by side? Was Herakles represented alone, leaving the spectator to guess at the subject matter and to imagine the complete story? The lion’s skin, the common attribute of Herakles along with his club and the bow, is not represented here in the usual way, bound around his shoulders, with a knot at the neck. This may suggest that the figure depicts the first labor, the fight with the Nemean lion; however, Herakles’ upward gaze, directed well above the lion’s figure, excludes this possibility. The remains of the shoulder and its position indicate that the arm was lowered and followed the diagonal line of the left leg, so the lion’s skin would be wrapped around the left hand as is attested to several similar compositions. Greek art explored at length the thematic range of Herakles labors, making it especially popular in vase painting and sculpture from the late 6th and continuing through the 5th century B.C. Herakles appears in the sculptural decoration of the friezes and metopes of Greek temples, where he is represented on the side of the gods and heroes struggling against the enemies or executing his deeds. Sometimes there was a direct political reason in choosing a particular episode among his labors. One such became the scene of Apollo and Herakles struggle for the Delphian tripod: the motive was associated in the early 6th century B.C. with the outcome of the First Sacred War. As the composition of the bronze figure does not indicate that Herakles might have held the tripod, the struggle with Apollo was not chosen for this representation. In studying the representations of Herakles’ labors from the point of view of their composition (keeping in mind the idea of the eye level of the figures and their interaction), the research should include the relief sculpture, because no sculpture in the round, especially the complete sculptural groups, survived from the Classical period. The metopes with Herakles and one of the mares of Diomedes from the temple of Zeus at Olympia (started in 456 B.C.) and the Hephaisteion in Athens (ca. 450 B.C.) appear to be the right choice. The arm holding the club is raised, the step is advanced; however closer comparison reveals the difference in the turn of the head: if we imagine that the bronze Herakles held the bridle in his left hand, the head is turned back and does not look at the mare. The frieze of the temple of Apollo in Bassae (420-400 B.C.) shows a similar pose, but reversed, of Herakles fighting against the Amazon Hippolyta, who is represented opposite him. This demonstrates that the statuette, although referring to the iconographic schemes in group arrangements in Greek Classical art, does not copy them in a precise way. As the statuette does not show any trace of a connection to a joint figure in the composition, we can conclude that the bronze was designed as a single figure. This idea is supported by the fact that, although the figure received complete three-dimensional modeling, the main position (the head seen strictly in profile while the torso is frontal) is sufficient to recognize the action. This particularity of the composition is typical for Greek statuary of the Severe style and found in few surviving bronze pieces in the round of about 460 B.C.: the statue of Zeus/Poseidon from the Cape Artemision (Athens, National Archaeological Museum) and the statuette of Herakles from Mantinea (the Louvre). The male body type and the proportions are similar: a strong body build with broad shoulders, pectoral, and broad waist are characteristic. The structure is also defined by the strong, well-trained muscles of the back, buttocks, and legs.

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      • Ancient Art climb - corkscrew summit

        01:35

        from Jurassic Jarrah / Added

        152 Plays / / 1 Comment

        Spencer climbing in Utah on sandstone towers.

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        • Rose Knows/Stiive Mage ~ Ariadne's Lament

          07:20

          from Jesse Jesster / Added

          121 Plays / / 0 Comments

          Mage Stage @ MODA Hollywood 9.20.14 Rose Knows + Stiive Mage In a reinterpretation of Ariadne's Lament by Friedrich Nietzsche Projection by Danjon Black

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          • Sleeping Ariadne

            03:04

            from Raichel Le Goff / Added

            637 Plays / / 1 Comment

            Ancient Greek and Roman art featured the Sleeping Ariadne model - it inspired artists throughout the centuries. Slideshow by Art Historian Dr. Raichel Le Goff. Music by Marissa Nadler (who shares her work copyright free)

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            • Chawaytiri: A family fabric

              08:01

              from Fred Clarke Alvarez / Added

              41 Plays / / 2 Comments

              A native quechua family of Pisac, Cusco, who creates amazing fabrics, designs and natural dyes, preserving their native tradition in a sustainable reality.

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              • Climbing Ancient Art at Fisher Towers near Moab, Utah

                04:43

                from Matador Network / Added

                Ancient Art is a four-pitch 5.8 (5.10+ if unassisted) mixed climb in the Fisher Towers about 45 minutes from Moab. The biggest challenge for us wasn't the technical aspect of the climb, but the complete exposure in the last pitch, when ground falls away all around you and you're walking on a piece of rock not much wider than a ruler. Big thanks to Nate, owner of Moab Desert Adventures, for guiding us. Check out more adventure videos at Http://matadornetwork.com

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                • Phoenix Ancient Art- Spring Masters, New York, May 2014

                  02:46

                  from Phoenix Ancient Art / Added

                  167 Plays / / 0 Comments

                  Contrary to the hair, the face is entirely preserved, without damage. The surface of the bronze is smooth, clean and dark-colored, almost black. The neck is largely preserved; the rounded and regular shape of its contours was certainly fashioned to be inserted into a bust or a statue. From a technical point of view, this is a very high quality piece. The edges of the bronze are thick and regular; the casting marks have been repaired by rectangular bronze plaques delicately applied on the surface; the incisions for the anatomical details are deep, thick and executed with precise and assured strokes. On the hair, there are many small squared holes whose arrangement is somewhat circular: using small tenons or nails, this system would probably have allowed attachment of a crown, a diadem or a veil, that partially covered the head of the woman. Other squared holes are pierced behind the neck and by the edge of the hair, which was probably cast apart from the rest of the head and the neck; the iris and the pupil were inlaid. The face is characterized by elongated and linear contours, with a strong jaw and a prominent and rounded chin. The figure represented is a woman, certainly old, as indicated by the numerous wrinkles near the eyes and the nose, the sunken cheeks and the absence of the curves distinctive of youthful portraits; her head and her gaze are directed resolutely forward. Stylistically, the notable elements of this work are the clarity and the cleanness of the contours, as well as the realism of the features: the shapes are modeled but they do not have any volume, the incisions, which are used only for the hair and the eyebrows, present a lack of finesse but they are precise. With this head, one is now far from the classical artistic currents and from the delicately expressive and idealized shapes of many portraits of the first centuries of the Empire. The face, very elongated and narrow, is slightly asymmetrical; the surface is smooth, but presents multiples depressions and undulations on the forehead, in the area of the eyes and on the cheeks. The long and linear nose presents a bump along the ridge and its nostrils are narrow; the mouth is small, with curvy lips and deepset corners; a deep depression separates the lower lip from the chin. The eyes are large and their contours 12 are marked by ridges; the upper eyelid forms an arch while the lower one is nearly horizontal; the superciliar arch is indicated by a slight ridge; undulating, fishbone- shaped incisions indicate the eyebrows. The hair is particularly elaborate: it covers the head like a rounded basket, composed of one or several plaits winding in a coil on the skull and becoming thinner at the center. The various locks are indicated by undulating lines, incised on both sides of the curls. On the forehead, the hair frames the face and, on the sides, they completely hide the ears. Chronologically, the best parallels for this figure are probably the works of the late 3rd and especially of the early 4th century A.D. Several portraits of this period (mostly male portraits) present such clean contours and such elongated and angular shapes, with the rare details deeply incised: the colossal heads of Constantine at the Palazzo dei Conservatori in Rome and in the Metropolitan Museum of New York, the portrait of Dogmatius of the Lateran, a beautiful young female head from Copenhagen.

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                  • Mela Delgado Artista del Mosaico

                    03:00

                    from mela / Added

                    46 Plays / / 0 Comments

                    Esta es mi pasión y la quiero compartir con el mundo! He estado creando mosaicos por casi ocho años, pero he estado haciendo arte toda mi vida. La pieza en la cual estoy trabajando en el video es mi "Auto- Retrato", que he estado trabajando por algún tiempo. Esta hecha de distintos materiales (vidrio, cuencas, joyas, cerámica, pintura acrilica) y también experimento con distintas técnicas. Es una obra hecha con mucho amor, pero cada pedazo lo merece! Para aprender más sobre mi arte, visita mi website: www.MELADELGADO.com Gracias a todas las personas que colaboraron en este video! A mi hermana que es una artista maravillosa, Deborah Delgado. A mi esposo que es un genio, Jason Cros y a su banda Broken Cities por la hermosa música. www.BROKENCITIES.com A mi hija Gala, por ser mi musa! Y finalmente a mi bella y talentosa amiga Vanina Doce-Mood y 12 Mood Studios por el elegante pechero con diseños del Dia de los Muertos y Frida Kahlo. www.MOTHERCRAFTERDIY.com Gracias Con Amor, Mela Copyright Mela Delgado, 2014

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                    • Moab Climbing Trip

                      04:00

                      from Rodrick LeBaron / Added

                      171 Plays / / 0 Comments

                      Climbing Trip to the Moab Area. Climbed Ancient Art Spire (Stolen Chimney 5.10), Owl Rock (5.8+) in Arches National Park, and Tezcatlipoca (5.7). Also did some cragging at Wall Street and Ice Cream Parlor.

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