Category: Art in Second Life

Black Tulip Gallery is a small art venue operated by Zoey Rhodan (ElizabethZoey); one which I admit to not having come across before. Offering a boutique-style approach to selected art, Black Tulip is currently (as at the time of writing) hosting Women’s World, a sublime collection of work by some of Second Life’s most gifted female photographers and artists, each of whom has offered between one or two pieces from their portfolios for display.

Neatly split into three rooms in which the art can be easily viewed and appreciated, Women’s World features work by (and on the lower level) AmandaT Tamatzui (1 piece); Tallulah Winterwolf  (2 pieces); Monqiue Beebe (1); Bamboo Barnes (1); Louvre (1); Maghda (2); Joanne D’arc (BrazilianGirl49) (1); and Jullyane (Jullyane Python) (1). The exhibition continues on the level floor, reached via the external stairway, with: Rita Glad (Sanem Albatros) (1); Scylla Rhiadra (2); Raven Arcana (2); and Manoji Yachvili (1).

The art is richly engaging with all of the pieces framed, cropped and finished in a manner that underscores the talent of the artist behind each of them, allowing all of the pieces to be enjoyed in their own right. However, and given the overall title of the exhibition, they all perhaps – directly and indirectly – offer reflections on what it is to be a woman – both in terms of self and in terms of societal expectations. This latter point is, I admit, entirely subjective on my part; as regulars to these pages will be aware, it is my wont (correctly or otherwise) to attempt to peel back the layers of possible interpretation within some art and exhibitions.

For example, there is sufficient evocative power within Maghda’s The Void for it to be fully appreciated without having to look beyond its innate beauty and elegance – but through the application of measured depth of field, it also does perhaps convey the idea that all too often, a woman is looked upon purely in terms of her facial beauty, with the soft focus blurring suggesting what goes on within the head and mind behind that face is all too often overlooked.

Meanwhile, facing it through the arch connecting the two lower floor rooms are The Untemptation of AdamAnt by Tallulah and Moni’s Desire. Both are exquisite and unique in approach and execution, offering visually striking pieces; at the same time, one also perhaps raises thoughts / questions on the nature of beauty and what makes a woman desirable to herself or through the eyes of others; whilst the other perhaps a rightful rebuttal to patriarchal Christianity’s view that Eve (woman) led Man (the male) to “sin”, thus casting her more fully into the role of subservience.

Upstairs, we are perhaps more fully encouraged to cogitate the potential for subtext and narrative within the images offered, potentially because of the presence of Scylla Rhiadra’s work. Scylla is an artist who can challenge perceptions and present ideas with the most beautifully composed and presented pieces, encouraging us to look deeper, to pause and consider what her images are communicating. As such, for those who – like me – do enjoy stepping back and looking at the broader canvas (so to speak) of possible commentary, this might also cause the eye and mind to look towards Raven’s Heading Down and Laundry Day also as both as perfectly composed images captured from within Second Life and perhaps as comments on both the role of a woman as a mother and how (for too long) a woman’s role was constrained in terms of house and home.

In this, I could go on; but as I’ve noted, these are subjective and personal reactions on my part to the pieces. What should not be overlooked here is that Women’s World brings together some extraordinary digital artists, presenting their work in a manner than both emphasises the rich diversity of art and expression available through and because of Second Life, and does so – thanks to the galley’s size and general ambience – in a manner that encourages a level of intimacy with the art which might have been lost within a larger, more formal environment.

• Women’s World, Black Tulip Gallery (Locus Amoenus, rated Moderate)

The four seasons of the year have long served as focal points for artists who sought to portray the emotions and feelings that each one brings to most people. Spring is a season that is overflowing with life and new beginnings a season where we’re making friends with our emotions again , our emotional reactivity and responses blossom with nature around us, happiness, serenity as flowers hatch and colours explode everywhere in intense expressiveness.

So reads the introduction to an expansive exhibition of art and artistry from Second Life and the physical world, mixing photography with mixed media and painting to express the beauty and renewal of springtime, all of which is being hosted at the Serena Arts Centre and Plaza in Second Life.

And when I say expansive, I mean just that: the exhibition is located across Serena Arts Centre and Plaza, featuring both indoor and outdoor displays  which have been thoughtfully laid out so as not to overload the senses with art by the 25 artists who have been invited to participate in the event by the Serena Arts team.

Officially opening at 12:00 noon SLT on May 3rd, 2024, the exhibition – officially called Visions of Spring : Rebirth and Recolouring, will run through until May 23rd, and the 25 invited artists comprise:

Dante Helios (Dantelios), Maggie (maggiemagenta), Greg Parker (GregParker), Terrygold, Christian Carter (XJustFriendX), Tara Paxlapis-Savior  (Tara Aers), Sisi Biedermann, Sheba Blitz, Zia Branner, Raven (Raven Cedarbridge), Teagan Dawnbringer, Prins Evergarden, John (Johannes Huntsman), Layachi Ihnen, Hermes Kondor, Jaminda Galênê Moon (Jaminda Lygon), Dreams (barry Richez), Tempest Rosca-Huntsman (Tempest Rosca), Vee Tammas Shocker (Veruca Tammas), AmandaT Tamatzui, Vita Theas, Nils Urqhart, Pask Wasp, Meycy Winchester, Onceagain (Nanoji Yachvili), Deyanira Yalin, and Cayla (YumiYukimura).

Each artist has been invited to display two items of their work that encompass the central theme of spring the richness and vibrancy of its colours, its beauty, and the sense of renewal and rebirth evident within it. In addition, artists have been able to include their biographies and information on where more of their work might be seen in-world and on-line.

Given such a diversity of artists, it’s impossible to highlight particular pictures of images; suffice it to say that all offer highly individual views of spring, be they images from locations in Second Life or avatar studies, paintings or photographs of their physical world work uploaded to Second Life or purely digital compositions (some of which combine elements from within and without SL). the majority have opted to offer copies of their pieces for sale (some of a limited quantity basis), although one or two have not.

All of the displays comprising the exhibition are located across the canals from the Centre’s landing point, with the majority being to the west of the landing point, under the two geodomes located there and along the walk linking them, with the rest on the plaza area to the north of the landing point (and directly connected to the area with the geodomes) and the gallery building to the north-east build out over the water and reached via the two decks alongside of it.

Given the organisers have taken care to present a broad mix of genres and art types in each location, rather than focus on a specific genre / approach in each one (e.g. one area devoted to work originating in SL, another for those artists offering work uploaded from the physical world, etc.), the exhibition should be explored in full, and the spread of the exhibit spaces – as noted above – present the eye and mind becoming too overwhelmed whilst also being a pleasant stroll.

SLurl Details

• Serena Arts Centre and Plaza (Serena Hub, rated Moderate)

The Kondor Art Centre, operated and curated by Hermes Kondor, is an exceptional and engaging hub for the arts in Second Life; one that is frequently evolving  / changing in order to offer visitors multiple opportunities to appreciate artistic expression through the platform. An example of this came in February 2024, with the opening of the Kondor Art Museum.

Located in one half of the Kondor Art Garden, the museum presents a modern building with multiple halls for individual exhibitions of art spread across two floors. At the time of my visit, these offered displays on behalf of several  Second Life artists I particularly admire: Maghda, Caly (Calypso) Applewhyte, Bamboo Barnes, Milena Carbone (who, at the time of writing, also had an exhibition entitled Whispering Waves in the neighbouring Art Garden), and Hermes himself.

Now, to be honest, I’ve no idea if these are permanent exhibitions or if they will be rotated with other artists over time. The artists here have been on display at the museum since it opened in February; something for which I’m actually grateful, giving it has given me the opportunity to catch-up with the work of these artists – notably Caly, Maghda and Bamboo, three incredibly expressive artists through (respectively) their avatar-centric photography (Caly and Maghda) and digital media art (Bamboo).

The lobby for the gallery features additional 2D and 3D art by ArtemisGreece, Scylla Rhiadra, Lalie Sorbet and Thus Yootz (with a remarkable collage entitled Real Life, Pictures within a Picture) and a further untitled piece by Hermes himself. These are all displayed within the museum’s lobby, from where it is possible to easily access each of the individual halls within the building, with the artists on display clearly labelled at the entrance point of each hall.

It is here that I have my one – minor – critique: it would be nice if the museum provided biographical information on the artists for those who might not be familiar with their work; or if not biographies, then perhaps an introduction to their displays within the halls. Doing so helps to encourage those engaging in the Second Life art environment to perhaps seek out and learn more about the artists they might be encountering for the first time. But again, this is a very minor critique.

This point aside, these are nevertheless thoroughly engaging displays of art, with Hermes’ physical world photography and Milena’s AI-generated (I believe) pieces nicely counterpointing the work of Caly, Maghda and Bamboo. Hermes’ presentation of his work from The Museum, his photo essay focused on the art of, and visitors to, Lisbon’s Calouste Gulbenkian Museum (home to one of the world’s most highly regarded art collections) provides a further nice counterpoint the idea of a gallery museum.

As noted, I’ve no idea if / when the individual art displays available at the Kondor Museum might be changing; as such, for those keen to catch the artists there at the time this piece was written – then it might be better to hop over and explore sooner rather than later, just in case. And while there, do take a walk around the Art Garden as well and appreciate the art displayed there.

SLurl Details

• Kondor Art Museum, Kondor Art Centre (Royal Tea, rated Adult)

As I continue to play catch-up on things, I’m again covering another art exhibition that has been open for a while but will hopefully remain open for a while longer so that people might enjoy it, as the subject matter is both fascinating and engaging.

The American Scene, presented at Carelyna’s ArtCare gallery complex, is a collection of art and photography gathered and curated from the physical world by Pamela Irelund as a celebration of the American art movement spanning the majority of the first half of the 20th century (in this case 1906 through 1956, to be precise).

This was a period of American art history with saw a reaction against the European modernist movements in art; a time when American artists – painters, photographers writers, etc., – sought to emphasise realism within their work. Within the art movement, this led to the notable rise of two major styles of art: Regionalism (works emphasising realistic scenes of rural and small-town America, particularly during the period of the Great Depression), and Social Realism (realist portrayals of anonymous workers as well as celebrities as heroic symbols of strength in the face of adversity, notably again during the Depression). In addition, the period also celebrated aspects of American culture and life.

Divided into a series of eight themes: Poverty, Realism and Immigration; The Promise of Industry; Distractions and the Jazz Age; Bustling Cities; The Appeal of Rural Life; Loneliness and Yearning; The Solace of Nature, and The Spirit, the exhibition is a veritable tour de force of American art and artistry throughout the period. The 50+ pieces in the exhibition encompass artists whose names may well be very familiar to some, and others perhaps less well known, but no less deserving of exposure.

For the former, one might select Georgia O’Keeffe, regarded as the Mother of American Modernism (although it is fair to say that throughout most of her career she strove to remain apart from the major art movements). She is particularly well represented both through reproductions of her own work and via a 1918 photograph by her husband, Alfred Steglitz, another name that may be recognised. Steglitz was a major promoter of art in the United States and was a major force behind making photography a recognised art form.

Also present within the exhibition is realist painter Andrew Wyeth, represented by what may well be his most recognised work, Christina (1948), a piece which actually inspired Second Life photographer shelly70 to create an entire region around Wyeth’s work. Grant Wood is presented by what might be regarded as his most famous piece, American Gothic (1930), whilst artist, photographer and film-maker Charles Steeler (who, if Georgia O’Keeffe is regarded as the Mother of American Modernism, then he might well be regarded as the Father) is also included, as is Archibald Motley (one of the major forces within, and contributors to, the Harlem Renaissance and the Chicago Black Renaissance, and Frank N. Wilcox and Thomas Hart Benson – both particular powerhouses of American Regionalism alongside the likes of Grant Wood.

However, whether or not the names of the artists are recognised, what cannot be denied is that this is an exhibition that genuinely spans the full breadth of the American Scene art movement, as well as encompassing the work of artists who might not be directly associated with the movement, but whose work – such as with Motley – played a major role in cultural recognition and growth.

In putting this exhibition together, Pamela has shown considerable care in her selections of art and artists – and in her respect for copyright. None of the pieces are offered for sale, regardless of their legal copyright status, and most are intentionally offered as low resolution images, with visitors encouraged to seek individual pieces on-line if they wish to see them at higher resolutions. However, “low resolution” does not mean the reproductions offered lack detail; again, care has been taken to show them at a size and format in which they can be appreciated though gentle camming through the exhibition.

In addition, Pamela also provides a highly informative notecard catalogue to the exhibition, and I highly recommend visitors take a copy: it not only offers information on the exhibition, its purpose and the period it represents, it also offers tidy thumbnail biographies of the artists presented within The American Scene, providing further insight to the period and the art.

In all, an excellent, and well-presented exhibition which brings an oft-overlooked period of art history.

SLurl Details

• The American Scene, ArtCare Galleries (Emotion, rated Moderate)