Tag: Art 2024

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.

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• 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.

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

We’re fast approaching the end of April 2024, and I’m still playing catch-up on blogging (house renovations are SO much fun… or so some say!); so before the month goes *poof* in its entirety, I’m going to use this piece to squeeze three exhibitions into the one article. My apologies to the artists for doing so, as each of the three is really worthy of extended consideration in its own right, but I’m sure some readers will find the fact this article avoids my longer diatribal (if only that were an actual word…) meanderings into my subjective thoughts as to meaning and interpretation!

Fortunately, the three exhibitions I’m referencing are hoisted at the NovaOwl Gallery, operated by Uli Jansma, Ceakay Ballyhoo & Owl Dragonash, making visiting them a breeze (just accept the local Experience to hop between the gallery levels if you haven’t done so previously). They feature the work of three noted Second Life artists, Carelyna, Leonorah Beverly and Sina Sousa.

Located within both halves of the ground level gallery at NovaOwl is A Matter of Perspective by Sina Sousa, a collection of 12 pieces (including the small one mounted on an easel!) which – as the exhibition’s name suggests – offers a range of perspectives on life and the times in which we live.

Involved in Second Life since 2012, Sina has built a reputation for presenting works with contain both emotional subtext and relate to matter of identity – be it for the individual, group, or with society at large – whilst often mixing 3D elements in with her work when exhibiting it.

Such is the case with A Matter of Perspective. Here, strikingly presented as visual essays, Sina invites us to consider matter of identity in the modern world, life and the inevitability of death (and not just physical death, I would suggest, given the presentation of Memento Mori) and the times we are currently living through.

As is always the case with Sina, the images very much speak for themselves, and so I’m not going to overlay perceptions by wittering on about them further here!

Occupying NovaOwl’s Sky 1 gallery is Seen Through My Eyes, the most extensive of the three exhibitions, comprising some 27 images by Leonorah Beverly.

Presented within a space which Leonorah has added décor reflective of her love of steampunk and the exotic, Seen Through My Eyes offers a highly personal journey through Second Life, the images framed and rendered as paintings, the majority in colour, although four are presented as quite marvellous monochrome pieces.

Throughout this collection there is a wonderful sense of that these are lavish illustrations that were produced as a part of some Second Life equivalent of a Victorian or Edwardian era of a Grand Tour, and which have now come to be exhibited in their own right. This gives the exhibition something of a classic feel to it, as well as honouring the personal nature of Leonorah’s view of SL as a place to be visited and appreciated.

Located on the lowest floor of NovaOwl’s Sky #2 gallery, Carelyna presents Moonchild, a series of six captivating images which coupled with text elements occupying the wall spaces alongside them. The latter are very much integral to the exhibition, offering as they do a cyclical poem in blank verse with no definable start or end, but rather linking the images in an unending loop. Together, words and images offer reflections on love and romance, and the role of the Moon in both.

As is always the case with Carelyna’s work, the images are hauntingly beautiful in their rendering and evocative in their narrative. They stand both on their own as paintings, whilst also being perfectly intertwined as reflections of the poem’s endless cycle as one gazes around the room. Where you start makes no difference, each image and stanza opens the door by which one can travel through the images and poem and savour her visual meditations on love and romance.

Three superb Second Life artists presenting three imaginative and evocative exhibitions all within one gallery hub – so don’t miss out and hop on over the NovaOwl before these exhibitions draw to a close.

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• NovaOwl Landing Point (Novatron, rated General)

It has been a couple of years since I had the opportunity to visit and write about an installation by Gem Preiz in Second Life – the last time being in 2022, when I reviewed Exoplanet: One Step Further. So it was with a degree of expectation that I dropped into Selen’s Gallery to visit Gem’s Do You Like Gold?, an exhibition of work that is part museum, part retrospective, part homage to the humble prim and a delight for those who enjoy miniatures and Gem’s work.

I’ve followed Gem’s work for a fair number of years now, having first written about Cathedral Dreamer all the way back in 2014. Whilst primarily focused on 2D work in those earlier days, Gem also worked with 3D elements, his exhibitions frequently staged within 3D environments he specifically built for them, and included 3D components to help enhance the stories he folded into many of his installations – narrative also being an important part of his work (just consider Heritage: Vestiges and Heritage: Wrecks as examples of this narrative aspect).

In more rent years, Gem’s work has shifted to bring his love of architecture to the fore in 3D installations of the most marvellous kind, with his fractal works often taking on more of the supporting role – or in some cases, tucked away as easter eggs awaiting discovery. 2020’s Arcadia is a good example of this, together with the impressive Skyscrapers of the same year.

Within Do you Like Gold? Gem takes us on something of a retrospective of a number of his more 3D-centric installations – notably Demiurge, Skyscrapers and Arcadia – in the form of reproductions of some of the structures used in those installations, which here have been given a gold leaf effect finish. Each structure is presented on its own plinth, together with notes on both its inspiration from the physical world and details on the installation(s) in which it appeared.

Offered at scals of 1/40th, 1/25 and 1/10th, some with the flying vehicles Gem provided within them to help give a sense of scale, the models sit as graceful reminders that, in an age of mesh there is still much to be said for the beauty which can be achieved via the humble prim and prim linkset.

What I particularly like about this installation is the manner in which the individual structures displayed within it allow us to fully appreciate how Gem has taken his love of architectural masterpieces in the physical world – those both built and imagined and freely interpreted them within his various installations. It may not have been obvious, for example, that both 2018’s Demiurge and 2020’s skyscrapers incorporated the proposed Bride Tower (Basra, Iraq), or the likes of the Hotel de la Marine (Paris) or the US Capitol Building in Washington D.C. lay tucked away within Arcadia.

Hence why Do You Like Gold is so multi-faceted as an installation – and worth taking the time to visit. And should you do so, be sure to give it a decent amount of time; not all of the miniatures within it are as static as they might appear to be; courtesy of a rezzing system they will change.

SLurl Details

• Do You Like Gold – Selen’s Gallery (Royale, rated Moderate)