Posts tagged with "Fine Art"

Award illustration done by Mina Tocalini of 360 MAGAZINE.

Royal Warwick Vase

A Victorian Royal Warwick presentation vase and horseracing trophy, known colloquially as ‘Her Majesty’s vase,’ has been rediscovered, having vanished from sight for years. It was last seen when it was presented in 1845 at the Plymouth, Devon, and Cornwall races, as a gift from Her Majesty the Queen, presented to the owner of the winning horse. It then descended through the family of the owner of the winning horse, Sir John Barker-Mill, 1st Baronet (1803-1860), and its significance had been unknown by subsequent generations, as the vase and stand had become separated from each other.

The vase was rediscovered in the family home, but the stand was only recently discovered in an outbuilding, which is when the family reunited them and realized exactly what it was. Further research confirmed it and Chiswick Auctions is delighted to offer it in a sale of Silver and Objects of Vertu sale on March 3, 2022.

The vase was commissioned by Queen Victoria and produced especially for the Plymouth, Devon, and Cornwall races in 1845 by the silversmith John Samuel Hunt (1785-1865) who traded with another great silversmith, Paul Storr (1770-1844). Known as the Warwick vase, it was created to the design of an ancient vase dating from the 2nd century A.D. This colossal vase measuring nearly six feet high was found in fragments in 1770 at the bottom of a lake at Hadrian’s Villa, near Rome, by a group of Englishmen and was acquired by Sir William Hamilton, at the time Ambassador to Naples. 

Hamilton sold it in restored condition to Charles (Greville), 2nd Earl of Warwick, who set it up on the grounds of Warwick Castle. The vase had been engraved by Piranesi in 1778 and provided the inspiration for many versions of the vase in silver and silver-gilt during the Regency period. Rundell, Bridge, and Rundell, the Royal goldsmiths, appear to have supplied most of the Warwick Vases, the most notable being a set of twelve commissioned by the Prince Regent and struck with the mark for Paul Storr, now at Windsor Castle. The Duke of York, second son of George III, owned a set of four which were included in the sale of his silver at Christie’s in 1827.

Jean Debufet art via The Guggenheim Museum for use by 360 Magazine

Jean Debufet: Ardent Celebration

The Guggenheim Museum Bilbao presents Jean Dubuffet: Ardent Celebration, sponsored by BBK, an exhibition surveying the defining decades of the career of Jean Dubuffet, spanning his first years of committed artistic production in the 1940s through his final fully developed series, completed in 1984. The exhibition is drawn primarily from the rich holdings of the Solomon R. Guggenheim Museum, New York, and supplemented by important selections from the Peggy Guggenheim Collection, Venice. At the end of World War II, Jean Dubuffet (b. 1901, Le Havre, France; d. 1985, Paris) began exhibiting paintings that defied entrenched artistic values. He rejected principles of decorum and classical beauty, along with pretensions of expertise. Instead, he looked to the commonplace and the unheralded, employing crude materials, mundane subjects, and a style that spurned any outward sign of academic training. In this approach, Dubuffet was challenging norms that he believed obstructed authentic expression and devalued everyday experience. However, his goal was not only to reveal how threadbare cultural conventions were; he also wanted to illustrate the vitality of life freed from them. As he once claimed, “I would like people to see my work as a rehabilitation of scorned values and… make no mistake about it, a work of ardent celebration.” 

Dubuffet was committed to this aim throughout his career, though he continually transformed the means he used to pursue it. He tested different mediums, including painting, drawing, collage, lithography, sculpture, and performance. Meanwhile, he moved fluidly between figuration and abstraction, explored multiple compositional strategies, and periodically reinvented his palette. Throughout these changes, Dubuffet’s work stayed grounded in its dedication to sharing new and revitalizing perspectives with viewers, as well as its refusal of convention. Jean Dubuffet: Ardent Celebration will focus on this celebratory impulse, as it offers an overview of the breadth of Dubuffet’s production. The ability to present a full survey of the artist’s career largely from the collection of New York’s Guggenheim Museum is thanks to the close relationship the museum established with Dubuffet. The museum hosted three major exhibitions on the artist during his lifetime, including Jean Dubuffet 1962– 66 (1966), Jean Dubuffet: A Retrospective (1973), and Jean Dubuffet: A Retrospective Glance at Eighty (1981). The institution also collected his work in depth, beginning with the acquisition of the Door with Couch Grass (Porte au chiendent) (1957) in 1959. 

About Jean Debufet 

Dubuffet was born in Le Havre, France, in 1901. At seventeen, he began studies at Académie Julian, a respected art school. However, he soon became disenchanted with the curriculum’s distance from real-world concerns and dropped out. In the following years, he remained engaged with the creative community in Paris, circulating with artists like Raoul Dufy, Juan Gris, Fernand Legér, André Masson, and Suzanne Valadon. In 1923, he came across the work of the visionary artist Clémentine Ripoche, and the next year, he discovered Dr. Hanz Prinzhorn’s book Artistry of the Mentally Ill. These two encounters began Dubuffet’s life-long, integral engagement with art made by psychics, children, and people experiencing mental illness— a kind of artistic production he would later term “Art Brut.” For much of the 1920s and 1930s, Dubuffet worked in his family’s wine distribution business. It was not until 1942, at the age of forty-one, while living in Nazi-occupied Paris, that he decided to devote himself to being an artist. The works he made in the ensuing years were a direct challenge to commonly held ideals about beauty, skill, and the elevated status of art, as revealed in Miss Cholera (Miss Choléra) and Will to Power (Volonté de Puissance), both made in January of 1946. Dubuffet complemented this production with publications and talks in which he explicated his belief that the mechanisms of mainstream culture were moribund, stifling, and should be cast aside. Alongside his clear criticality, Dubuffet was experimenting with alternate paths forward, paths that he believed would lead to more fruitful, genuine modes of expression. During the 1940s and 1950s, he invited audiences to fundamentally reconsider the concept of beauty and demonstrated how worthy of admiration ordinary things could be. His work of this era delights in the qualities of quotidian and base materials. To emphasize the physicality of his paint, he used additives like lime, cement, or sand to thicken his oil paint into a paste he called “haute pâte.” With this medium, he could create deeply textured, complex surfaces, and he could shape his compositions in more immediately physical ways. Dubuffet sometimes went a step further in his explorations of materials, using found objects like rocks, rope, and, later, aluminum foil in his paintings. In parallel, he sought to overthrow socially enforced notions of beauty with nontraditional choices of subjects and the inventive ways in which he depicted them. This goal is particularly apparent in his early portraits, like Portrait of Soldier Lucien Geominne (Portrait du soldat Lucien Geominne) (1950) and his series of nudes, Ladies’ Bodies (Corps de Dames) (1950–51), but it extends to his depictions of frequently ignored objects, including dilapidated walls, rustic doors, soil, and rocks. From 1962 into the 1970s, Dubuffet pursued his most extended body of work, the Hourloupe cycle. These paintings and sculptures are distinguished by networks of interlocked cells, many filled with parallel stripes, most often in red, blue, and white. Though this cycle marks a significant stylistic shift, it continues Dubuffet’s commitment to constructively realigning his and his audiences’ engagement with art and the world more broadly. With the Hourloupe, cycle, which is represented in this exhibition with the works Nunc Stans (1965) and Bidon l’Esbroufe (1967), Dubuffet established a vocabulary that enabled him to create and explore an ever-expanding, fantastical universe, unified by its shared visual expression. It also allowed him to more pointedly take on phenomenological and epistemological issues. The intricacy of the patterning can lead to visual ambiguity, especially when multiple pieces are seen together. This enigmatic quality suggests the transience of what seems permanent and the contingency of an object’s supposedly defining form. Together these effects occasion a rethinking of the relationship between perception and reality, an aim that was of deep importance to the artist. For the last decade of his life, Dubuffet continued to focus on the workings of the mind, especially as they relate to the external world. By drawing attention to these mental functions, he hoped to inspire new, liberated ways of thinking. In the Theaters of Memory (Théâtres de mémoire) series (1975–79), Dubuffet established a vocabulary for expressing how the mind mixes perception, memories, and concepts as it tries to make sense of events and surroundings. His last two series, Sights (Mires) (1983–84) and Non-Places (Non-lieuxs) (1984), represented in this exhibition by Sight G 132 (Kowloon) (Mire G 132 [Kowloon]) (1983), and Given (Donnée) (1984), respectively, are characterized by tangles of lines and are largely absent of recognizable imagery. With these paintings, Dubuffet considered what experience would be like if the mind did not sort the outside world into preconceived, socially defined categories—extending even to the distinction between the real and imagined. Free of such constraints, the artist believed people would be able to access new, limitless possibilities of experience and creativity.

Optimistic Vivacity via Tim Tadder for use by 360 Magazine

Interview with Tim Tadder

If you have ever seen photos of an Olympic athlete, you have no doubt seen Tim Tadder‘s work. As a photographer, he has captured the likes of Michael Phelps and Simone Biles. Recently, Tadder hosted an exhibition at Avant Gallery in New York City. 360 was given the opportunity to ask him about his artistic inspirations and his style.

How did you get into art? Was there a moment you realized you wanted to do art professionally?

I’ve always been involved in some capacity with art as a major thematic in my life. It was always what I most enjoyed in school, as a hobby, & just overall being creative. I left a career as a teacher and pursued photography as a craft and a creative expression form when I was 27, after realizing I needed to enjoy my occupation and creating was a massive part of that. 

When did you realize art was the career choice for you? Was there a moment when you realized you were gaining recognition and success in the art world?

People see me as a highly creative photographer and artist. The way that I see the world has a particular point of view that is sought after. I think embracing that as who you are and what you do and how you perceive and see has value and therefore is a viable career once you can monetize that vision. Everything else falls into place from there. 

People will collect and want to own a piece of your vision and hang it on a wall, which ultimately empowers you as an artist to continue to create and explore your vision knowing that you have the financial support in order to do so. 

When ‘Nothing to See’ first was shared as large format prints, the response was overwhelming. It was at that point that I knew there was serious traction in a new marketplace, one that I had always dreamed of being a part of and was fortunate that this particular series of images was embraced by collectors and galleries. 

How does knowing a multitude of art mediums help you with your artwork?

I come from a background of 20 years of creating advertising campaigns for the world’s biggest brands and our job is to create on demand art that sells a product. And in doing so, you learn to use all the tools at your disposal to make the most powerful image for that purpose. I have been able to use all of that skill and knowledge and channel it into my personal fine art work to create images that convey messages that are important to me and that should be heard around the world. 

What do you look at to get inspiration to create?

Pre-COVID I attended a lot of art fairs and contemporary museums to look at trends, masters, & to find inspiration on how people explore visual presentation. I found that going to those events and seeing the art in person really helped me refine my message and refine my voice. In a COVID world, I try to follow artists on IG and Twitter who I’m inspired by and keep abreast of their new work and from there I try to find my own lane to blend out, be distinct, and be noticeable. Right now there’s so many rabbit holes that one can go down to find inspiration, whether it’s instagram or twitter or the NFT space.

You use bright and vibrant color schemes in your artwork, when and how did that start? What’s your process when deciding about the colors you will use?  

I’ve always been attracted to bold use of color. It’s been a monochord in my commercial work since my career began. For me that’s an instinctual choice. To use bold colors to help story tell. In choosing, a lot of it comes from instinct and a lot comes from what those colors represent. For ‘Nothing to See,’ I chose the bed, black, & white hues because they were historically represented of fascist banners and that collection was born out of a desire to create iconic, anti-fascist imagery. 

You photograph both still-lives (mostly mannequins) and people. Is there one you prefer to photograph? What led to you choosing a humanoid inanimate object as your main subject in many photos/series? 

I choose to use real people and not mannequins. I select models that have very androgynous, mannequin-esque features because I want my images to represent humankind and not just a type of individual, which sometimes comes from casting talent with defining characteristics. It’s not a picture of someone, it’s a picture of something

You edit with high contrast, high-saturation as your signature style. What drew you to this editing style?

Instinctive choices. It’s how I see, it’s how I visualize, it’s what I as an artist feel is beautiful. It wasn’t a choice to follow a trend, it was my own visual aesthetic.

The MAACM illustration by Anh Hoang use for 360 Magazine

The MAACM

Designed to Inspire: The Museum of the American Arts and Crafts Movement opens September 7, 2021 

The world’s first museum dedicated to the American Arts and Crafts movement showcases over 800 works of art from an era valuing craftsmanship, simplicity, and honesty

The highly-anticipated Museum of the American  Arts and Crafts Movement in St. Petersburg, Florida, will open its doors to the public on Tuesday, September 7, 2021. Founded and funded by local businessman, philanthropist, and collector Rudy Ciccarello, the museum is the first in the world dedicated to the movement.

The Museum of the American Arts and Crafts Movement (MAACM) will showcase remarkable examples of fine and decorative art from this important movement, which swept the country between about 1890 and 1930. A reaction against the mass production of the Industrial Revolution, the movement promoted simple and functional designs, handcrafted with quality materials.

“This museum will be the epicenter for the study of the American Arts and Crafts movement,” said Ciccarello. “Our mission is to preserve and share these beautiful works of art with the public and to teach future generations to appreciate hand-craftsmanship and honest design.”

MAACM honors the principles that guided the movement with its finely crafted 137,000-square-foot building, which is a work of art itself. Designed by award-winning Tampa-based architect Alberto Alfonso in close collaboration with Ciccarello, the five-story museum features incredible architectural elements such as a grand atrium, skylights, and a dramatic spiral staircase, with hand-crafted Venetian plaster, wood, metal, and stone finishes. The expansive museum includes more than 40,000-square-feet of gallery space, as well as an outdoor garden with period tiles and fountains. In addition to galleries, MAACM has an education studio, graphic studio, retail store, research library, theater, event space, café, and destination restaurant.

Located in St. Petersburg’s bustling downtown waterfront arts district, MAACM joins the thriving local art and culture community.

“The Museum of the American Arts & Crafts Movement is a welcomed addition to Downtown St. Pete’s continuously growing art scene,” states Steve Hayes, president, and CEO of Visit St. Pete/Clearwater.

Works of Art and Programs 

Curated from the museum’s own collection and the holdings of the Two Red Roses Foundation (TRRF), MAACM features a vast selection of art, including some of the rarest objects from the movement. Personally collected by Ciccarello over more than three decades, the TRRF’s holdings, exceeding 2,000 objects, are considered the most important private collection of the American Arts and Crafts movement in the world. The most noteworthy artists, craftsmen, and companies are represented by works including furniture, pottery, tiles, metalwork, lighting, leaded glass, woodblock prints, paintings, and photographs. MAACM’s permanent collection galleries and three temporary exhibition spaces will display thoughtful works created by notable movement trailblazers such as Gustav Stickley, Charles Rohlfs, the Byrdcliffe Colony, the Roycrofters, Tiffany Studios, Dirk van Erp, Grueby Pottery, the Saturday Evening Girls, Rookwood Pottery, Newcomb Pottery, Frederick Hurten Rhead, Adelaide Alsop Robineau, and Arthur Wesley Dow. MAACM’s one-of-a-kind period installations include a complete wood-paneled room designed by the architectural firm of Greene and Greene, a custom tiled bathroom, and boathouse floor by Grueby Faience & Tile Company, and a 600-tile mural from Rookwood Pottery.

Temporary exhibitions will illuminate the movement and its lasting legacy. Love, Labor, and Art: The Roycroft Enterprise, showcases over 75 works made by the Roycroft community, including printed books, furniture, lighting, metalwork, and more. Lenses Embracing the Beautiful: Pictorial Photographs from the Two Red Roses Foundation, another opening exhibition, features more than 150 pictorial photographs and rare books from around the world. These carefully composed, camera-generated images mimic the appearance of paintings through hand-manipulated effects, reflecting the larger Arts and Crafts context.

Complementing the art on display, MAACM’s slate of programs is designed to engage the community with the collection. The Education Studio will host MAACM Family Days on the first Saturday of each month, which includes art-making, performances, and family-friendly guided tours of the collection. Monthly Third Thursday programming will feature themed activities, performances, art-making, and demonstrations. MAACM’s Sunday Film Series, on the last Sunday of each month, will feature a cinematic presentation inspired by the collection or exhibitions, followed by a docent-guided tour.

Dining and Shopping 

After viewing MAACM’s captivating exhibits, visitors can refuel at the Arts Café and Ambrosia Bar and Restaurant. Arts Café diners enjoy premium espressos, house-made desserts, snacks, and lunch Tuesdays through Sundays until 4 p.m. Featuring the talents of award-winning Executive Chefs, Ambrosia Bar and Restaurant will serve elevated American cuisine and Italian favorites Tuesdays through Sundays. Designed as a seamless continuation of the museum experience, the dining spaces feature period-inspired architecture, warm and inviting antique furniture, and art throughout.

Guests can also bring a piece of the MAACM experience home from the Museum Store, offering a carefully curated collection of handcrafted gifts, merchandise, and jewelry inspired by the Arts and Crafts movement.

Meetings & Events 

As an immersive art experience, MAACM is a unique venue for weddings, corporate affairs, and social events. Its 3,700-square-foot banquet facility can accommodate up to 250 guests, a dance floor, and a stage for live music. Adjacent to the banquet area are the art-filled Collector’s Gallery and the Vintage Bar, featuring an 18-foot Brunswick Mont Oro bar from 1900, antique breakfronts, and hand-crafted pub tables.

For more information, such as pricing and hours of operation, or to reserve tickets, visit here

BDE via Tenacious Toys for use by 360 Magazine

Tenacious Toys Releases Best Day Ever

Tenacious Toys is thrilled to continue their support of independent creators and manufacturers with a pair of exclusive releases at the end of this week.

This first drop is “Best Day Ever,”  a large scale 10-inch-tall vinyl art toy designed and self-produced by artist Ezra Brown. Best Day Ever depicts Ezra’s character Happy the Clown as he’s walking down the street… about to step on a nail.

Best Day Ever is limited to just 100 pieces as a co-exclusive between Tenacious Toys and Ezra Brown. Packaged in a fun, retro style art box, Best Day Ever will debut on the Tenacious homepage on Thursday August 12th at noon EST for $160 each, which includes free US shipping and a free Tenacious Toys enamel pin.

About Best Day Ever

Brown came up with the Happy character right before the pandemic. At first he was just going to be an ordinary character… nothing special. But as time went on and we entered into a global pandemic, he took on a totally different role. Happy came to symbolize what we all wanted in a time of despair. People wanted to make sense of what was going on around them, and Brown felt that this character could have a much deeper meaning. So that’s how he evolved from just an ordinary character to a whole mood.

He’ll be in everyday situations that any of us could go through, but sometimes we just don’t know how to make sense of them. Happiness is our emotions translated into cartoon form. That’s how Brown came up with the idea for the vinyl toy. Happy is their first vinyl art toy and they felt really good about the whole thing so that’s why I decided to name it Best Day Ever. Yeah he’s happy-go-lucky, whistling, etc, but if you notice he’s about to step on a nail. So “Best Day Ever” is also Brown’s sarcastic play on words… like when you’re having a bad day and you say “Best day ever!”

About Ezra Brown

Ezra Brown’s art is a mixture of pop surrealism and vintage-style lowbrow. He’s a painter, illustrator and dabbles in wood cuts as well. And he is now a toy designer and manufacturer!

About Tenacious Toys

Tenacious Toys has been buying, selling & producing art toys in vinyl, resin, PVC and plush since 2004. The primary mission of Tenacious is to lift up and empower new creators by offering them a retail platform to showcase, promote and sell their artwork in the 3D collectibles space. The Tenacious website is an ever-changing and vibrant selection of limited-edition collectibles that is unmatched anywhere else.

Image courtesy of Flying Horse for 360 Magazine

Mirah Lehr’s Residency at Flying Horse

Flying Horse Editions Selects Mira Lehr For 2021 Visiting Artist Residency Program

Lehr’s New Editions of Original Works Created in Residency will Debut During Art Basel Miami Beach 2021 at INK Miami

Nationally Acclaimed Studio Invites World’s Leading Artists to Push Boundaries with Cutting-Edge Technology
Flying Horse Editions, the nationally acclaimed printmaking studio that invites some of the world’s leading artists for its Visiting Artist Residency Program, has chosen Mira Lehr for their select roster of artists for 2021. The studio is celebrated for cutting-edge technology and inspiring artists to push the boundaries of printmaking, in a kinetic setting among its team of master printmakers. In her new series, Lehr, now at the bold age of 86, is experimenting with explosives, fuses, plexiglass, watercolor, and inks ‒ exploring new ways to use nontraditional materials in the art of printmaking. Mira Lehr is a force of nature to be reckoned with, said Theo Lotz, the Director of Flying Horse Editions. She is a fearless explorer. Lehr’s body of work spans all media, not bound by one process. Her artistic energy and spirit are boundless. We knew that her bold approach to artmaking would lead to a great collaboration. Lehr thrives in our studio, which relishes the unexpected. Lehr’s new work created at this residency will debut during Miami Art Week/Art Basel Miami Beach 2021, at the INK Satellite Fair (December 1-5 at the Dorchester Hotel).
This fair is produced by the International Fine Print Dealers Association, and is recognized worldwide as one of the leading presentations of works on paper by internationally renowned artists. Lehr’s new limited editions will then tour nationwide with Flying Horse throughout 2022 at several art fairs across the U.S. and internationally. Her new work will also be presented at an opening reception at the studio, featuring live demonstrations of her process of igniting gunpowder and fuses to create her artworks. Flying Horse Editions was established in 1990 at the University of Central Florida. The artists invited to participate in the residency has included: Diana Al-Hadid, Elia Alba, Chakaia Booker, Will Cotton, Ke Francis, Luis Gispert, Eddie Martinez, Odili Donald Odita, and Toyin Ojih Odutola.
Lehr completed the first part of her studio residency in the spring, and will return to Flying Horse later this year to complete her new editions there. Every artwork in Lehr’s new editions will each be an original work of art that was created exclusively during the residency. They were each imagined with these trailblazing printmaking techniques in mind, and are each one of a kind. So far, Lehr has created a series of monotypes with watercolor prints created on plexiglass. She has also created a new lithograph with collage pieces that will be burned and ignited using the artist’s signature technique with fuses and gunpowder, for a new varied edition.
My experience at Flying Horse Editions has been a powerful new adventure in artmaking for me. I am honored to have been invited to their artist residency this year, said Mira Lehr. Their passionate commitment to the craft of printmaking is evident, they really put their hearts into the visiting artist’s experience . I was able to experiment with great freedom ‒ they encourage the artists to take risks, while remaining true to your voice.
This research space houses professional visiting artists for short term residencies with assistance from master printmakers and students. The artists’ drawings are scanned, manipulated digitally, and then put on a copper plate similar to what would have been used during Rembrandt’s time. Lehr’s nature-based imagery includes painting, design, sculpture and video installation. Her processes include innovative usage of resin, gunpowder, fire, Japanese paper, dyes and welded steel. Her paradoxically destructive yet creative fire techniques burn holes and leave imprints in her prints resulting in an even more layered and complicated final artwork. The resident artists invited to Flying Horse Editions have the benefit of working with a massive 300-ton hydraulic press that is dramatically colored red. This behemoth machine produces complex relief prints that expand the creative possibilities of what artists may have previously envisioned. Unlike traditional presses, this hydraulic press applies an immense amount of pressure, downward onto the printed area, yielding much more precise images, with several blocks in multiple colors. Because the printer requires such fine tuning, Siemens donated a sophisticated electronic system that tricks out the controls enabling unparalleled precision. Watch the high-tech colossus in action here.
The Visiting Artist Residency Program at Flying Horse Editions is made possible by the members of the institution, a grant from the Winifred Johnson Clive Foundation, and with funding by the Judith and David Albertson Endowment in the Arts. The goal of the program is to create a world-class initiative that promotes creative interaction between professional artists and students, while also creating sustainability within the printmaking field ‒ training the next generation of artists and printmakers.
Flying Horse Editions is a collaborative research center in the College of Arts and Humanities at the University of Central Florida, and a non-profit publisher of limited-edition prints, artist books, and art objects by internationally renowned artists.

About the Artist
Mira Lehr’s solo and group exhibitions number more than 300. She is a graduate of Vassar College (1956) with a degree in Art History, under the mentorship of Linda Nochlin, the renowned feminist art historian. Lehr will be the subject of a new, 420-page international monograph by the leading art book publisher Skira Editore, to be published in the spring of 2022. She has been invited to present a solo exhibition at the Deering Estate in the fall of 2021.
Lehr has been collected by major institutions across the U.S., including the Smithsonian Museum of American Art (Washington), the Getty Museum Research Center (Los Angeles), the Boca Raton Museum of Art, the Perez Art Museum Miami, the Frances Lehman Loeb Art Center (NY), the Margulies Collection, the Mennello Museum of American Art, MOCA North Miami, the Jewish Museum of Florida-FIU, and the Orlando Museum of Art. Her work is in the private collections of Elie and Marion Wiesel, Jane and Morley Safer, and Judy Pfaff, among others. She is included in the Leonard Lauder Corporate Collection in New York. Thirty of her paintings were commissioned for the collection of Mount Sinai Hospital. Her work can be seen in American Embassies around the world and is permanently on view in the Sloan Kettering Memorial Center.
Lehr’s 2020 solo museum show at the Mennello Museum of American Art was selected by The New York Times as one of the leading museum exhibitions nationwide in the U.S. in the 2020 special Museums Section. Her solo museum exhibition headlined Art Basel Miami Beach 2019 at the Jewish Museum of Florida-FIU, and also received national and international critical acclaim. Her museum-wide exhibition at the MOCA North Miami spanned across 10,000 square feet of installations. She has currently been chosen by Flying Horse Editions as an invited artist for the Visiting Artist residency.
Mira Lehr’s nature-based work encompasses painting, sculpture, and video. She uses nontraditional media such as gunpowder, fire, fuses, Japanese paper, dyes, and welded steel. Lehr is known for igniting and exploding fuses to create lines of fire across her paintings. Critics are calling Lehr the Godmother of Miami’s art scene because in 1960 she created one of the nation’s first co-ops for women artists. At the age of 86 and with a career that spans more than six decades of artmaking, Lehr is creating more new work now than at any other point in her life ─ with a heightened sense of urgency about the planet and climate change. In the 1950s, Lehr studied and worked in New York as an artist, where she met some of America’s most prominent masters including: Joan Mitchell, Lee Krasner, and Helen Frankenthaler. She studied with James Brooks, Ludwig Sander, Robert Motherwell, and within the Hans Hofmann circle.
When Lehr moved back to Florida in 1960, she was shocked at the lack of an art scene, especially for women. She convinced many of the masters from New York to visit and lead workshops for her league of women artists. This helped the evolution of art in Florida. She was selected in 1969 by Buckminster Fuller, as one of only two artists, to participate in his World Game Project about sustainability and his groundbreaking Spaceship Earth concept which preceded the world’s very first Earth Day in 1970. Lehr’s video installation, V1 V3, was on view at the New Museum, NY. Her work has been included in numerous art fairs during Art Basel Miami Beach. She was the recipient of the Vizcaya Museum Lost Spaces Commission, where she was commissioned to create a site-specific installation for Vizcaya Museum and Gardens as part of the Museum’s centennial celebrations.

GOONBOX via Tenacious Toys for use by 360 Magazine

GOONBOX by Chris Murray

Tenacious Toys is pumped to announce their next exclusive toy drop: the Rap Kings GOONBOX Gold Edition 7-inch vinyl art toy designed by Chris B. Murray and produced with care by Clutter Studios.

This is the first vinyl art toy by Philly artist Chris B. Murray who is best known for his illustrations and prints.

Chris grew up studying hip hop culture, which has driven his design sensibility as well as his work as a professional artist. His ongoing Rap Kings illustrated series highlights the groups he grew up listening to as well as current day artists. It started as a poster series, extended into other merchandise, and then ultimately led him to create the series first vinyl toy, GOONBOX!

The concept for the GOONBOX character is an intentionally vague mashup born out of the hip hop era—a gritty street character that incorporates pieces of some of Chris’ favorite rappers, groups and various elements of hip hop culture. Many references can be found all over this figure: the camo pants, the bees, the pigeons, the backpack, the manhole cover, the flower.

The Tenacious exclusive Gold Edition GOONBOX ES are limited to just 50 pieces and priced at $149.99. They will drop on the Clutter page at noon EST on Tuesday, July 13th.

About Chris B. Murray

Chris B. Murray is a fine artist/commercial illustrator living and working out of Philadelphia, PA (originally from upstate NY). From an early age, Chris immersed himself in everything that dealt with pop culture. His most favorite being hip-hop and everything surrounding the culture including graffiti art, sneaker hoarding/streetwear fashion and most importantly, the attitude. Every aspect of it was so very inspiring to Chris. He even goes as far to say that hip hop and the culture revolving it played a major role in raising him through his formative years. Those very same influences are deeply rooted in the work he is still making today from the vast array of color usage and character treatment, the inventive narratives to the meticulous compositions and concepts. Chris has been disciplined in using a variety of media on various surfaces to create his imagery. 

About Tenacious Toys

Tenacious Toys has been buying, selling & producing art toys in vinyl, resin, PVC and plush since 2004. The primary mission of Tenacious is to lift up and empower new creators by offering them a retail platform to showcase, promote and sell their artwork in the 3D collectibles space.

Arts in the Plaza illustration by Heather Skovlund for 360 Magazine

Arts In The Plaza

Long Beach Local Arts Festival Arts In The Plaza Celebrates 10th Anniversary

Beginning May 29th through October 30th in Kennedy Plaza

This year on opening day, Saturday, May 29th, 2021 (rain date June 5, 2021), marks the 10th anniversary of Arts In The Plaza, a weekly arts festival located at Kennedy Plaza in Long Beach, NY.

“With regulations lifting, we are excited to continue our 10th full season of Arts In The Plaza,” says Arts In The Plaza Director Sammi Metzger. “It is so important now more than ever to shop local and support small businesses, and we look forward to having that opportunity this year.”

Beginning at 10am until 3pm, attendees can shop from over 30 different local artisans. Of special note, Long Beach city officials will have a ribbon cutting ceremony at 10:30am and former American Idol contestant Evan Kuriga will perform live on opening day at noon. Additionally, the Long Beach Photo Bus, 1971 VW bus that has been converted into a traveling photo booth, will serve as a photo opportunity for attendees to capture and share their experiences on opening day through social media using the hashtag #AITPturns10.

Who: Arts in the Plaza

What: 10th Anniversary Celebration

When: Saturday, May 29th from 10am-3pm (rain date Sat, June 5th)

*10:30am Ribbon Cutting Ceremony with Long Beach City Officials

Where: Kennedy Plaza, Long Beach, NY

Conveniently located an hour from New York City by car or train and within walking distance of the public beach, Arts In The Plaza is a weekly outdoors festival that features local handcrafted art including photography, jewelry, fine art, mixed media, clothing, accessories, home décor and live music.

About Arts In The Plaza

Arts In The Plaza is a weekly, outdoor arts festival in Long Beach, NY that features handcrafted art by Long Island artists, live music and cultural performances. Located in the center of town at Kennedy Plaza, Arts In The Plaza takes place every Saturday from 10am to 3pm beginning Memorial Day weekend through Halloween. Each week, local artists showcase a diverse assortment of products and services in various mediums including photography, jewelry, fine art, mixed media, clothing, accessories and home decor.  All artists involved in Arts In The Plaza are also members of local arts organizations including the Artists in Partnership, West End Arts Visual Artists Guild, and the Long Beach Art League. Arts In The Plaza is built on love – love of art, love of music, love of community, love of Long Beach. Follow Arts In The Plaza on Facebook, Twitter and Instagram.

Speedway Motors illustration by Heather Skovlund for 360 Magazine

Speedway Motors Museum × Darryl Starbird

Speedway Motors Museum of American Speed & Darryl Starbird’s National Rod & Custom Car Hall of Fame Announce Merger

Speedway Motors Museum of American Speed and Darryl Starbird’s National Rod & Custom Car Hall of Fame announced their merger at Darryl Starbird’s National Rod & Custom Show in Tulsa, Olka.

“Darryl Starbird is one of the most prolific custom car builders and an artist who was consistently able to gain national recognition for his creations. His customs have been showcased in all of the popular car magazines for decades. This would have been difficult for any builder, but it was even harder to achieve for someone located in the Midwest. His car creations feature a space age futuristic style that people find exciting and memorable. He is certainly king of the bubble top, and like Toad in American Graffiti explains, any car as good as Starbird’s Superfleck Moonbird has to be amazing!” said Tim Matthews Curator, Speedway Motors Museum of American Speed. “Custom car fans now have two places to see Starbird’s fabulous creations.”

Speedway Motors Museum of American Speed, located in Lincoln, Neb., is home to over 150,000 square feet of display space over three levels. The museum was formed to present a continuous chronology of automotive Racing Engine and Speed Equipment development and to preserve, interpret and display items significant in racing and automotive history. Founded in 1992 by “Speedy” Bill and Joyce Smith, the collection results from their personal involvement in racing and hot rodding, and their lifelong passion for collecting and preserving racing an automotive history over the past 100 years.

“In addition to the collection the Smiths have built over the years the museum has also been the recipient of many generous donations from vehicles to important artifacts in racing and automotive history,” Matthews added. “The relationships continue to lead us to opportunities to acquire important pieces furthering our mission to preserve, interpret and display items significant in our industries history.”

The museum is currently home to four Darryl Starbird vehicles including the Li’l Coffin Car originally built by Dave Stuckey and restored by Starbird. The museum also features many other displays including the largest collection of vintage pedal cars, gas-powered miniature race cars, automobile themed toys, fine art, lunchboxes and more.

“Having my work on display at Speedway Motors Museum of American Speed has allowed it to be appreciated by even more people,” said Darryl Starbird, Founder of Darryl Starbird’s National Rod & Custom Car Hall of Fame. “Our conversations started over 15 years ago and I’m pleased to officially announce the merger giving fans two places to see my collection.”

Located in Afton, Okla. Darryl Starbird’s National Rod & Custom Car Hall of Fame is the home of over 50 one-of-a-kind full size exotic vehicles, including twenty-five of his own creations on display, as well as automotive artwork, photographs and auto memorabilia displayed throughout the 40,000 square foot facility.

The museum is also home to the National Rod & Custom Car Hall of Fame. Every year in June an anniversary celebration is held to recognize and induct two additional custom and rod builders into the National Rod & Custom Car Hall of Fame.

For more information about Darryl Starbird’s National Rod & Custom Hall of Fame please visit their website.

For more information about Speedway Motors Museum of American Speed, museum hours or displays visit their website.

About Speedway Motors Inc

Speedway Motors is a proud supporter of the Speedway Motors Museum of American Speed. Known as America’s Oldest Speed Shop, Speedway Motors was founded in 1952 by “Speedy” Bill and Joyce Smith. Their four sons Carson, Craig, Clay and Jason continue to run the family-owned business.

Speedway Motors is a manufacturer, retailer and distributor of high-quality automotive parts and racing products. Since 1952, Speedway Motors has been committed to providing a broad selection of high-quality, affordable automotive parts—delivered quickly, efficiently and without any hassles. Their products and expert advice are available to customers by calling 1.800.979.0122, online or at retail stores in Lincoln, Neb. and Tolleson, Ariz.

About Speedway Motors Museum of American Speed

The Speedway Motors Museum of American Speed is a federally recognized 501 (c) (3) private foundation located in Lincoln, Neb. Founded in 1992 by “Speedy” Bill and Joyce Smith, the Speedway Motors Museum of American Speed was formed to present a continuous chronology of automotive Racing Engine and Speed Equipment development and to preserve, interpret and display items significant in racing and automotive history.

About Darryl Starbird’s National Rod & Custom Car Hall of Fame

The National Rod & Custom Car Hall of Fame located in Afton, Okla. is set up as a national 501 (c) (3) nonprofit foundation & is a nationally recognized tribute to the leading street rod and custom car builders throughout the country.

Photo Credit:  Speedway Motors Museum of American Speed

Julian Lennon Paperback Writer New Master via Aston Martin Residences Virtual Gallery for use by 360 Magazine

New Art Gallery at the Aston Martin Residences

The Aston Martin Residences Miami is creating a permanent art gallery on the 52nd floor of the luxury tower, which is due for completion at the end of next year. The Art Gallery celebrates a love of beauty and an appreciation of art in all forms, values shared by developer G&G Business Developments and its partner Aston Martin.

Ahead of its completion, the Aston Martin Residences’ Art Gallery is launching virtually and will showcase a renowned artist online every two months. To launch the virtual gallery, a 3D immersive experience, the Aston Martin Residences has partnered with British artist and acclaimed photographer Julian Lennon to present an exclusive exhibition of hand-picked images from his personal collections. The virtual Art Gallery and inaugural exhibit, titled “Vision,” can now be seen by visiting this website.

Germán Coto, CEO of G&G Business Developments, said: “Art and design are woven into the soul of the Aston Martin Residences. Every decision we make is born from an intrinsic love of beauty and meticulous attention to detail. We imagine residents will fill their homes with beautiful artworks, and we’re creating the Art Gallery to offer a secluded and exclusive space for our owners to immerse themselves in an ever-changing canvas of contemporary art. We’ll present works from established artists and emerging talents that make our hearts beat faster, and we hope the Art Gallery will inspire residents in their daily lives.”

He also said: “We’re 70% sold, and we know that our residents appreciate art. It’s this love of art together with a desire for the highest quality finishes, light-filled spaces, and of course, the stunning waterside location that has attracted clients to the Aston Martin Residences Miami.”

For Lennon, capturing moments through photography is an intimate experience. “I aim, through my photography, to grant the viewer intimate access to the lives and locations of my subjects, as well as insight into my own personal journey,” he said. “In a city as vibrant and diverse as Miami, I invite the residents to draw a relationship to their own lives in these images, and to take part in my mission to unite us through empathy in the lives of others.”

 Julian Lennon’s fine art photography exhibition, “Vision,” the first to be presented by the Aston Martin Residences’ Art Gallery, can now be seen virtually, ahead of the physical opening in 2022.

INTRODUCING ASTON MARTIN RESIDENCES MIAMI SIGNATURE COLLECTION

Signature Collection penthouses and residences revealed at prestigious Miami waterfront development

The Signature Collection is the next level of luxury at the Aston Martin Residences Miami

Aston Martin Residences Miami on target to complete construction at the end of 2022

Aston Martin Residences Miami, located on the exclusive Miami waterfront, has revealed its Signature Collection of seven penthouses and Line 01 ocean facing residences. Signature Collection is a personal invitation to the ultimate members-only community with unparalleled access and exclusivity at its core.

Contemporary architecture blends with art, and art blends seamlessly with design throughout the magnificent sail-shaped luxury development. The elegant homes are harmonious inside, while floor to ceiling windows afford uninterrupted views of the ocean and Biscayne Bay.

All seven one-level penthouses in the Signature Collection, starting on the 56th floor, are a minimum of 8,800 sq. ft.  Prices range from $16.7 million to $25 million. The 38 Line 01 Signature Residences, starting on the 15th floor, offer a minimum of 3,600 sq. ft. of interior space facing the ocean and start at $5,525,000.

Signature Collection owners will enjoy an array of privileges, including a dedicated butler service and priority access to the Aston Martin Residences private superyacht marina. While the Art Gallery located on the 52 floor will create a secluded space for residents to appreciate an ever-changing canvas of contemporary art. 

Germán Coto, CEO of G&G Business Developments, said: ‘I’m delighted to announce the Signature Collection and share the very first images of the penthouses. They’re the pinnacle of luxury and elegance, style and beauty, and the result of an inspirational collaboration between our architects and the Aston Martin Design Team. The Signature Collection is complemented by a specially-commissioned bespoke Aston Martin DB11 Coupe or DBX Riverwalk Editions, which will enhance the Aston Martin lifestyle for our owners.’

‘From the start, this project has been a labor of love, and I’m extremely proud of the passion and drive of everyone involved. We adapted to continue working safely throughout the pandemic and have reached floor 56 of 66 on schedule. The whole team is fully focused on completing the construction of our waterside jewel by the end of next year.’

Aston Martin Chief Creative Officer, Marek Reichman, said: ‘The Signature Collection is the next level of luxury; the best of elegant living. When we designed the interior, we focused on the beauty of perfect proportions, affording the same attention to detail that goes into every Aston Martin. Fine craftsmanship, with an emphasis on comfort for the living spaces and bold, pioneering design for the amenity areas, has created an astonishingly beautiful development. Aston Martin Residences Miami is our first global real estate venture, Reichman continued. I think we have shown that good design is good design, whatever the medium. This is something that really excites us as a brand.’

Located at 300 Biscayne Boulevard Way and now 75% sold, the Aston Martin Residences Miami is well on its way to completion at the end of next year. 

For further information, visit Aston Martin Residences’ website.

About Aston Martin Residences Miami: 

Aston Martin Residences Miami is a luxury residential tower developed by global property developer G&G Business Developments. It is located at 300 Biscayne Boulevard Way on the Downtown Miami waterfront where the Miami River meets Biscayne Bay. The project marks Aston Martin’s first real estate venture and the iconic brand’s expansion into luxury residential design. Designed by Revuelta Architecture and Bodas Miani Anger, the striking 66-story sail-shaped tower features 391 luxury residences and penthouses priced from the $750,000s to upwards of $50 million. Construction is due for completion at the end of next year. To learn more, please visit HERE.

About G&G Business Developments: 

Headquartered in Miami, G&G Business Developments was founded and is managed by key members of the Coto family. The company has quickly established success in global real estate as a developer, owner and investor, bringing its visionary business strategy to this competitive market. Known for financial strength and stability, G&G is committed to developing innovative, luxury projects that mix the latest technology with uncompromising design, delivering exceptional results by creating unique residential and business properties with long-term value.

Aston Martin Residences at 300 Biscayne Boulevard Way Miami BU Building/Penthouse Rendering from G&G Business Developments via Elliott Staes at ESPR for use by 360 Magazine

Hands of Time 2010 via Aston Martin Residences Virtual Gallery for use by 360 Magazine