Book shows the best typical Algarvian recipes in the south of Portugal in Europe

The Best Food in the Algarve in the south of Portugal. A guide with 20 of the best and most famous Algarvian recipes.

A book of typical Algarve recipes selected by the chef and president of ACPA (Association of Cooks and Pastry of the Algarve) Augusto Lima and accompanied by a wine suggestion by the specialist Maria João Almeida.

"The best of Algarvian food in an easy, attractive and very practical cookbook to use for your table calendar format. Ingredients can be found all over the world and entrees, soups, fish, meat and desserts cooked in 3-6 simple and uncomplicated steps, "the publisher says.

Augusto Lima, president of the Algarve Cooks and Pastry Association, develops his activity in the areas of training / consulting, cooking / catering, seminars and showcooking.Recognized for the defense of regional Algarve products and technical head of the book «Cataplana Algarvia - Traditions and Recreations», he is also a mentor of Mediterranean cuisine projects by author.

The cookbook consists of 42 pages and the pleasant price of € 8.50 + shipping worlwide available in 3 languages; Portuguese, English and German.

The finish is in ringwire, shrinking. Already available in bookstores and also on the site:Http://

Requests for books can be made directly to the publisher:
ZESTBOOKS, Lda. Rua do Centro Cultural, 7 B
1700-106 LisbonMail: carina.carvalho@zestbooks.ptTlm. 211 321 958

11 Female Abstract Expressionists You Should Know, from Joan Mitchell to Alma Thomas

Abstract Expressionism is largely remembered as a movement defined by the paint-slinging, hard-drinking machismo of its poster boys Jackson Pollock and Willem de Kooning. But the women who helped develop and push the style forward have largely fallen out of the art-historical spotlight, marginalized during their careers (and now in history books) as students, disciples, or wives of the their more-famous male counterparts rather than pioneers in their own right. (An exception is Helen Frankenthaler, whose transcendent oeuvre is often the only female practice referred to in scholarship and exhibitions around action painting.)

Even when these artists were invited into the members- and male-only Eighth Street Club to discuss abstraction and its ability to channel emotional states—as was the case with Perle Fine, Joan Mitchell, and Mary Abbott—their work rarely sold as well or was written about as widely or favorably. And these women received far fewer solo exhibitions than their male contemporaries. Some even changed their names, like Michael West, in an effort to combat the era’s sexism, or incorporated into their work tacit challenges to the status quo, as Elaine de Kooning did in her “Faceless Men” series.

Now in a long-overdue exhibition at the Denver Art Museum, a sizable, boundary-pushing group of female Abstract Expressionists are finally getting their due. Below, we spotlight some of the most innovative practitioners (admittedly, there are many more than 11).

Lee Krasner
b. 1908, Brooklyn, NY
d. 1984, New York, NY

Lee Krasner

Burning Candles, 1955

American Federation of Arts

Lee Krasner

Four, 1957

San Francisco Museum of Modern Art (SFMOMA) 

In 1937, after several years studying with artist Hans Hofmann at his eponymous school, Krasner painted a work that Hofmann described as “so good you would not know that it was done by a woman.” Throughout her career, Krasner, one of the earliest and most innovative AbEx practitioners, would struggle against the marginalization of women artists, even changing her first name from Lena to the gender-ambiguous Lee in the 1940s.

While she introduced her husband, Jackson Pollock, to the ideas and key progenitors of the movement for which he would become the posterboy, her relation to Pollock often superceded her own reputation as an artist. Krasner is one of the few artists on this list who saw a retrospective of her work mounted during her lifetime (in 1983, a year before her death). But her paintings, which burst with fierce, swooping lines and swollen shapes reminiscent of body parts, have only recently begun to receive their due as integral to shaping Abstract Expressionism and its legacy. Her 1957 magnum opus, The Seasons, which stretches 17 feet wide, is now the centerpiece of the Whitney Museum’s seventh-floor hanging.

Elaine de Kooning
b. 1918, Brooklyn, NY
d. 1989, Southampton, NY

Elaine de Kooning

Bacchus #3, 1978

National Museum of Women in the Arts

De Kooning was a fixture of New York’s tight-knit Abstract Expressionist cohort, which included her husband Willem de Kooning, though she set herself apart by making portraits. Her compositions were edged with the movement’s high-octane gestures, as well as her own frustration with the marginalization of female artists. Her “Faceless Men” series, for instance, obscured the features of her more famous male contemporaries, like post-war poet and art critic Frank O’Hara. They were unveiled at her first solo exhibition at the Stable Gallery in 1952.

A sense of quivering energy pervades all facets of de Kooning’s diverse body of work, which also includes ebullient abstractions inspired by landscapes, bullfights, and the Lascaux cave paintings. “I wanted a sense of surfaces being in motion,” she explained of her canvases. A frequent contributor to ARTNews, she was also a passionate and eloquent exponent of the AbEx cause, expressing the movement’s animus succinctly, with phrases like: “A painting to me is primarily a verb, not a noun, an event first and only secondarily an image.”

Perle Fine
b. 1905, Boston, MA
d. 1988, Southampton, NY

Perle Fine

Summer I, 1958-1959

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

Perle Fine

Early Morning Garden, 1957

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In the early 1940s, when Fine was in her mid-30s, she rented a small, cold water flat that doubled as her studio on Manhattan’s 8th Street, the main drag of Abstract Expressionist activity and discussion. Across the street, the Hans Hofmann School buzzed with students eager to set objectivity aside and take up pure abstraction—Fine was one of them. Around the corner, Hofmann, de Kooning, and other AbEx pioneers discussed painting and swilled booze at The Club, their members-only haunt. Fine was one of the first and very few women allowed through its doors.

After moving to East Hampton with her husband, the photographer and art director Maurice Berezov, Fine made some of her most ambitious paintings—compositions that surged with deep passages of black paint and textured areas of collage. She worked on the floor to create these, moving across them using an elevated plank. Despite her innovative exploration of Abstract Expressionism, which she fused with an interest in the pure forms of Neo-Plasticism, Fine was not included in the Whitney’s 1978 show “Abstract Expressionism: The Formative Years,” which she contested in two letters to the museum. She later became a renowned professor at Hofstra University, but stated: “I never thought of myself as a student or teacher, but as a painter. When I paint something I am very much aware of the future. If I feel something will not stand up 40 years from now, I am not interested.”

Michael West
b. 1908, Chicago
d. 1991 New York

Michael (Corinne) West

Gento Niese, 1978

Heather James Fine Art

Michael (Corinne) West

Cythera Shrine, 1979

Heather James Fine Art

Like Krasner, West was an early adopter of Abstract Expressionism and one of the movement’s boldest artists. As early as 1932, she studied with Hofmann alongside the painter-gallerist Betty Parsons and artist Louise Nevelson, but soon moved to other instructors because, as stated in her plucky style, she’d had “enough of maestros.” At the time, she made paintings that mingled elements of Cubism and Neo-Plasticism, but soon moved towards abstraction, a shift no doubt influenced by her intimate relationship with painter Arshile Gorky (she refused his marriage proposals several times, choosing independence).

In the late 1930s, they together concocted a new, masculine first name for West, who was born Corinne Michelle. She returned to New York after a stint in Rochester, and a 1945 exhibition included her work alongside the likes of Milton Avery and Mark Rothko. After the war, she responded to the fear and frustration of the atomic age with angry lashings of pigment; she often covered earlier paintings with new tangles of seething brushwork. They became thick, turbid all-over abstractions, painted directly from the tube or with a palette knife, embedded with sand and detritus, and imbued with existential titles like “Nihilism” and “Atonement.” Despite her innovations and efforts to fight the marginalization she felt as a woman (changing her name, dressing in menswear), she is largely left out of history books and exhibitions on avant-garde art of the 1940s and Abstract Expressionism.

Alma Thomas
b. 1891, Columbia, GA
d. 1978, Washington, DC

Alma Thomas

Untitled, c. 1958, ca. 1958

Vallarino Fine Art

Alma Thomas

Untitled, ca. 1958, ca. 1958

Vallarino Fine Art

While Thomas, who is featured in a solo exhibition at the Studio Museum in Harlem this summer, is best known for her geometric compositions of blazing color, her early paintings from the 1950s are rooted in the AbEx style, which unlocked her nimble experiments with hue and form. In 1924, she was the first graduate of Howard University’s fledgling Fine Art program, but she devoted the majority of her adult life to teaching high school, until she focused on her practice once again in 1950. Her all-over canvases evince a deep curiosity with color and its ability to convey emotion. Often inspired by landscapes, science, and the cosmos, they pulse with their deftly modulated palettes. Light blues bleed into darks with a sense of rushing, fluid movement.

Joan Mitchell
b. 1925, Chicago, IL
d. 1992, Paris, France

Joan Mitchell

Untitled, 1977

Cheim & Read

Joan Mitchell

Bracket, 1989

San Francisco Museum of Modern Art (SFMOMA) 

When Mitchell settled in New York in 1950, after receiving her BFA at the Art Institute of Chicago, she immediately became a mainstay on the avant-garde scene, thanks to her fiery wit and exuberant abstractions that married writhing, lyrical lines with searing colors rendered like staccato notes. She was influenced not only by her contemporary painters, but also by writers and musicians—poet Frank O’Hara was a close friend, she was infatuated with jazz, and she frequented a bar where Miles Davis and Tennessee Williams were regulars.

In 1951, Mitchell was one of a handful of women included in the history-making “Ninth Street Show,” which cemented Abstract Expressionism as a movement to watch—as well as her own place amongst older practitioners like the de Koonings, Robert Motherwell, Hans Hofmann, Krasner, Pollock, and more. She became known as one of several “Second Generation” female Abstract Expressionists, along with Helen Frankenthaler and Grace Hartigan, and earned a coveted place at The Club, where she slung her ardent, often scathing opinions in salon conversations. “I’ve always painted out of omnipotence,” she once said.

In 1952, around the time her marriage ended in divorce (Mitchell is one of the few better-known women Abstract Expressionists who was not married to a famous male painter), she made good on her bold statements and mounted her first New York solo show. It would galvanize a steady stream of exhibitions in both the U.S. and Europe until her death. 

Mary Abbott
b. 1921, New York, NY

Mary Abbott


Vallarino Fine Art

Mary Abbott

All Green, 1954

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In the early 1940s, around the time when she was modeling for Vogue and Harper’s Bazaar, Abbott began taking classes at New York’s Art Student League. After separating from her husband in 1946, she settled on 10th Street among the Abstract Expressionists and took classes at Subjects of the Artist School, founded by Robert Motherwell in his 8th Street studio. Soon, she was making towering canvases characterized by sweeping brushstrokes that often merged into dense swarms of torrid, sensuous color inspired by annual winter trips to Haiti and the Virgin Islands.

Her broad brushstrokes were informed, in part, by her then-nascent dialogue with Willem de Kooning, who would be a lifelong sounding board and friend. She, like Mitchell, was also involved in the literary community and, in the late 1950s, began embedding text into her Action paintings as part of a collaboration with the New York School poet Barbara Guest. Painting at her home in the Hamptons to this day, she often describes her objective to “define the poetry of living space” through her work.

Jay DeFeo
b.1929 Hanover, NH
d. 1989, Oakland, CA

Left: Jay DeFeo, Untitled (Mountain series – Everest), 1955. © 2016 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York; Right: Jay DeFeo, Origin, 1956. © 2016 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Images courtesy of The Jay DeFeo Foundation.

Born Mary Joan DeFeo, the enigmatic San Francisco painter assumed the nickname Jay and began making art in junior high school, mentored by an artist-neighbor named Michelangelo, while living in San Jose. She went on to study art at Berkeley, where she won a fellowship that prompted a trip to Europe and her first important series, a group of abstract paintings that fused her interests in Abstract Expressionism, Italian architecture, and prehistoric art. They also helped to introduce the use of a monochrome palette to all-over abstraction. By 1953, after a stop in New York, she was back in San Francisco and became a fast fixture on the scene, and a neighbor and friend to fellow artists Joan Brown, Sonia Gechtoff, David Getz, and others. 

Over the decade, her work became thick with gesture, impasto, and mixed media, a shift that culminated in a terrifically imposing work that was as much her crucible as her magnum opus. DeFeo spent eight years, from 1958 to 1966, working solely on The Rose, a painting-cum-sculpture measuring over 10-feet tall, almost one-foot thick, and weighing over 2,000 pounds. An eviction noticed forced her to cease work on the piece, and also induced a several-year hiatus from artmaking. She only returned to the studio in the 1970s.

While the atmosphere in San Francisco was arguably less misogynistic than in New York, DeFeo no doubt still felt the gender inequalities of her time. In his review of DeFeo’s posthumous 2012-2013 retrospective—her first—at SFMOMA and the Whitney Museum, critic Peter Schjeldahl hypothesized the origins of her obsession with The Rose: “I surmise that she was hampered by, even while being nurtured on, a scene that was dominated by men… It’s conceivable that her withdrawal into obsessively reworking The Rose amounted to a tacit protest—a standup strike—against the pressures of her milieu.”

Sonia Gechtoff
b.1926, Philadelphia, PA

Sonia Gechtoff

Red Icon, 1962

Anita Shapolsky Gallery

Sonia Gechtoff

The Beginning, 1960

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In 1951, Gechtoff moved from Philadelphia to San Francisco, where she installed her studio in “Painterland,” an affectionately titled building on Fillmore Street that was home to a bevy of abstract painters, including DeFeo, with whom she developed a friendship but also a rivalry. In this new environment, Gechtoff developed a unique approach: She coated a palette knife with several colors, then smeared them with swooping gestures onto her canvases. The lively paintings were celebrated, winning her a solo museum show at the de Young as early as 1957 and a spot in the Guggenheim’s seminal 1954 group exhibition “Younger American Painters” alongside de Kooning, Pollock, Franz Kline, and more—though it’s only recently that the historical influence of her work has been recognized and revived.

Grace Hartigan
b. 1922, Newark, NJ
d. 2008, Timonium, MD

Grace Hartigan

New York City Rhapsody, 1960

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

Grace Hartigan

Ocean Bathers, 1953

C. Grimaldis Gallery

Another second-generation New York Abstract Expressionist, Hartigan (who occasionally showed under the pseudonym “George”) assumed but also challenged the non-objective style of her forebears, like de Kooning and Pollock, the latter whose work she saw for the first time at Betty Parsons Gallery in 1948. Though filled with shards of color and active gesture, her canvases never completely relinquished content. Often, they were embedded with social commentary that questioned the traditional role of women.

A 1954 series “Grand Street Brides” interrogated the construct of marriage by abstracting bridal shop mannequins (Hartigan married and divorced a handful of times). Other series, like her “Matador” paintings, explored sexual identity or incorporated elements from urban life and popular culture, although she passionately disapproved of the burgeoning Pop Art movement. Unlike most women of the time, her work sold well, especially after her inclusion—as the only woman—in MoMA’s 1956 show “Twelve Americans,” which also featured paintings by Philip Guston and Franz Kline and resulted in the sale of her largest work to Nelson Rockefeller. But while she showed consistently in solo gallery shows and group museum exhibitions through the 1970s, interest dropped off in the mid-’70s, after which she taught and showed only sporadically until her death in 2008.

Judith Godwin
b. 1930, Suffolk, VA

Judith Godwin

Infidel, 1979

Berry Campbell Gallery

Judith Godwin

Epic, 1959

"Women of Abstract Expressionism" at Denver Art Museum, Denver 

In 1950, Godwin, who was studying art in Virginia, met and befriended dancer and choreographer Martha Graham. The fateful run-in inspired Godwin to relocate to New York, where she began painting in abstract and with a dynamism influenced by Graham. In some paintings, you can almost feel the arc of her arm as it swooped across the canvas. “I can see her gestures in everything I do,” she once said of Graham.

Godwin fused this theatrical sense of movement with Hofmann’s color theories to produce rich tonal combinations. A long-term dialogue with Japanese painter Kenzo Okada also guided her practice and bolstered her interest in Zen Buddhism, as well as her intuitive approach to abstract painting. “When I recognize an emerging form, I respond intuitively by evolving complimentary sub-forms in colors and applications which feel supportive and foster development,” she said. “In studying color and its behavior, I have learned to trust my intuition.”

—Alexxa Gotthardt / United Photo Press 2017
Cover image: Perle Fine in her studio, 1959. Image courtesy of the Denver Museum; Jay DeFeo in front of an early stage of The Rose, 1961. Photograph by Marty Sacco (San Francisco Examiner). © 2016 The Jay DeFeo Foundation/Artists Rights Society (ARS), New York. Courtesy of The Jay DeFeo Foundation; Portrait of Alma Thomas © Michael Fischer, 1976. Courtesy of the National Museum of American Art, Smithsonian Institution, Washington, DC.; Judith Godwin, 1977. © Judith Godwin. Courtesy of the Denver Museum; Sonia Gechtoff in her studio, ca. 1961–62. Courtesy of Sonia Gechtoff and the Denver Museum; Mary Abbott in her studio, ca. 1949–50. Courtesy of McCormick Gallery, Chicago, and the Denver Museum.

Distorted 3D-Scanned Faces Are the Stuff Nightmares Are Made Of

Lee Griggs' haunting 3D scans barely look human anymore.

The canvas that is the 3D-scanned human body offers some wild visual experiences, from 3D-printed Paul McCartneys to video game avatars that look just like you, but few are as uncanny as Lee Griggs' warped digital busts. "I guess I enjoy distorting the human face," Griggs tells The Creators Project about his new, face-melting image series, Deformations. "I like to blur the boundaries between the real and the surreal, I suppose."

"Blur" is a bit of an understatement for these distorted 3D scans, which Griggs downloads from production house Ten 24 and renders in Arnold for Maya. "I feel like I'm at the early stages still with this new project," he says, despite the slew of distorted human visages in his portfolio, from the early alien masks to the grotesque textural experiments that have appeared since he started. "I think there is a lot more that can be done and I know Im going to have fun going there. My goal is to create images that are more complicated with detailed deformations and multiple layers."

The newest addition to Deformations, an ongoing series, is Blockhead, which you can see above. Check out the rest, each more artfully horrifying than the last, in the image selection below:

See the full set, and more of Griggs' work, on his website.

Swedish medieval armored combat

Swedish medieval armored combat yes it´s a sport and a training style and it´s different and sweaty.
Welcome to a different and medieval armored combat, it takes place at the Swedish sci-fi convention in Gothenburg 2017.

United Photo Press journalist Tommy Hammarsten hits a different group of people who have a different fighting and training style. They have armor in iron, helmets, swords and axes. This is no game they fight without holding back full contact.

"Behind me is a big crowd with great expectations, I think nobody really knows what's going to happen, the bells hit, and the game is now seconds with armor fighting now, full in a big mess. It hurts and shrinks in armor, those who lose a weapon get a new weapon to continue with."

The crowd applauds, and shouts well, a person takes home the battle, the others are on the side and watching.

In a few minutes everything is over, the crowd asks do not hurt to get a beat, no answer the coach we are well equipped to withstand everything.

I meet some of the guys in the team after the fight, he is sweaty but satisfied, we will soon ride and compete in Norway, he answers, okay good luck. United Photo Press has experienced a new and different sport S.M.A.C

Tommy Hammarsten 
United Photo Press 2017

Ligalismo already has a book

The first book of the current Ligalismo was presented / displayed by the director of the Conservatory of Music and several professors and holders of the UGR of different disciplines, from the anthropology to the botany, passing through the painting, drawing and Spanish language.

The event took place within the closing acts of the exhibition of Fernando Bolivar that has hosted the Professional Conservatory of Music 'Angel Barrios' of Granada for 3 months. In the morning was the last guided tour by the author who attended a TVE team to shoot a report and an interview. And in the afternoon at 6 o'clock began the presentation of the book entitled: 'Ligalismo. The current of the 21st century '. The host, Luis Vidueira, director of the Conservatory, addressed those present, expressing the good reception of the exhibition in the center and his particular interest in plastic art, science and the book and the current it represents.

Professor Bolivar then thanked the teachers and alumni who were present at the table and among the audience and gave the floor to Miguel Botella, a famous researcher on human evolution, who highlighted the personality of the main author of the book. Did not go unnoticed, neither in scientific nor in the artistic field, since the 80's that was his student in the career of biology.

United Photo Press is a partnership and media sponser from Ligalismo.
Then Pedro Sánchez Castillo intervened, which also delves into the personality of the author whose relationship begins when 25 years ago agrees to direct his doctoral thesis on botany and restoration in the Alhambra. He highlighted what the current can bring not only in the artistic-scientific but also in the cooperation between human beings. For his part, the Spanish-language professor of the UGR Esteban Montoro, confessed that initially had some reluctance with the word ligalismo, but soon realized that indeed it was a word that could provide a new and useful concept for the Language and human relations.

Also involved the painter and professor of Drawing: Jesus Conde who pointed out the historic capacity of Granada to originate numerous artists and scientists who tend to relate to each other and is related to the great weight of the University in the city.

When the author saw the number of attendees who could contribute information and interesting opinions he invited them to take part and did so several classmates and alumni, such as the medievalist professor of Romance Languages ​​Antonio Rubio Flores, a schoolmate and current member of the musical group Which shows ligalist music with the pictogenic battery of Ferbo Ligali, the painting teacher: Consuelo Vallejo; Of Drawing: Roma Contreras, also biologist Paqui Medina, the three former pupils of the author; The pharmacist Miguel Ángel García López and the musician Ernesto Baquero, also member of the group 'Los Extraños Gabinetes'.

United Photo Press is a partnership and media sponser from Ligalismo.

Art Fair Malaga 17 "The worst organizational disaster of art in Europe"

The gallery owners and artists consider the Malaga Art Fair as the worst organized in the history of art fairs in Europe.

· Lack of communication between the Argentine organizing partner Martin Gallego / Brenda Benitez and the artists
· Stands without previously approved measures and very dirty floors and without a carpet
· Digital art screens only worked at 50%
· Catalogs of the fair nonexistent
· Free admission that harms artists
· The advertising of the fair in the city of Malaga nonexistent
· Theft within the fair with the intervention of the National Police

A "total organizational disaster" is the qualification of the artists of the Malaga Art Fair. This is the final result of the Fair, in spite of the last minute performances of the Argentinean partner Martin Gallego / Brenda Benitez to camouflage many and many bad things, the opinions of the gallerists and artists follow in the same line; Lack of communication between the organization with artists, stands without previously approved measures, cleaning, free tickets, catalogs of the "only imagination", security and acoustics some of the many issues that support their criticism.

A negative balance turned into a whiting that bites its tail: before the protests of the gallery owners and artists, the organization starts again with the same process: it does not communicate, it has no capacity to solve the problems created by itself; Lack of ability to organize events with this dimension, anyone who happened to have been able to rent a stand at the rate of about 800 euros the module. If we do accounts we warn that for the organization the business becomes very very round and point ... "e now the judicial consequences turn" speak the artists "...

"Those who really enjoy ART agree that this Art Fair Malaga 17 has been the worst so far in Europe. That has been published that Art Fair Malaga is the largest fair in Europe is an invention to deceive the citizen, it will be Who do not know NORDART ... near Hamburg? I guess not ... that's why they are also incompetent.And I steal a citizen in La Féria? This is a disaster and in Europe there is no art fair worthy of its name That does not have its curators for the various arts to expose, with a pre selection, so that this mess in Malaga dea much but much more controlled ... "

The Fair is being a total mess and so this does not work next year will be the same story and every time it gets worse whenever you try to talk with the Argentine couple that organizes the Fair are not available, "explains the President of the Non-profit International Association, United Photo Press, of New York with more than 27 years of existence and with subsidiaries and European registries in Madrid and other European capitals, from where they denounce that the organization does not listen to their claims, reason why Are going to initiate a joint judicial process with the gallerists and artists for contractual, material, moral and other damages ... "

For this purpose a email has been created to receive all the claims of gallery owners and participating artists who are going to be presented by an attorney to the Malaga court and the Court of Justice of the European Union.

. - And the robbery of the bag with its documentation to a member of a stand of the Feria?
WE WANT JUSTICE NOT REVENGE - In order to claim we have an email: to receive all the claims of gallerists and participating artists at Art Fair Malaga 17 to be submitted by an inferior to the court in Malaga and the Court of Justice of the European Union.

WE WANT JUSTICE NO LA VENGANZA - For the effect we have created an email: to receive all the claims of gallerists and artists participating in the Malaga Art Fair 17 to be submitted by an attorney to the Malaga court And the Court of Justice of the European Union.


NordArt – North Germany’s window to the art world

Modern art, rugged charm.

Some people may find north Germany bleak, but its beauty is undeniable. Few exhibition spaces express its unique atmosphere so eloquently as the Carlshütte, a former iron foundry operated by the first manufacturing company in the dukedoms of Schleswig and Holstein. Opened in 1827 and closed in 1997, this site in the town of Büdelsdorf is an impressive industrial monument. With its historical buildings, the colossal foundry halls, the extensive park with its old trees and an exhibition café, the Kunstwerk Carlshütte has developed over the years into a very special place for exhibitions, concerts, readings, theatre performances and film screenings.

Since 1999 the NordArt has established itself as one of the largest exhibitions of contemporary art in Europe which takes place anually in the summer months. The NordArt is an overall work of art in its own right and is designed as such each year. More than 200 international artists, selected by a jury, present a comprehensive panorama of contemporary art. Each individual work not only speaks for itself but also creates new perspectives when seen juxtaposed against the unique backdrop offered by the Carlshütte and the adjacent historical sculpture park.

Enter the virtual tour to explore the sculpture park and the halls of the Carlshütte.

Chief curator of the NordArt: Wolfgang Gramm
Co-Curator of the NordArt: Inga Aru

Hosts of Kunstwerk Carlshütte: Hans-Julius Ahlmann and Johanna Ahlmann

The Kunstwerk Carlshütte is a nonprofit cultural initiative of the internationally active ACO Group and the towns of Büdelsdorf and Rendsburg (Kunst in der Carlshütte gGmbH).

Venue: Kunstwerk Carlshütte, Vorwerksallee, 24782 Büdelsdorf, Germany

Exhibition area: the former Carlshütte foundry (22,000 sqm), the ACO Wagenremise (400 sqm) as well as the park (80,000 sqm) and public places of the town of Büdelsdorf.

Since 2011, also the Orchestra Academy of the Schleswig Holstein Music Festival (SHMF) is at home at Kunstwerk Carlshütte - in the specially converted rehearsal and concert space “ACO Thormann Hall” that can accommodate audiences of up to 1,200. NordArt and the Festival are not only good partners, who both foster the worldwide network of artists, they also forward the crossover between fine arts and music. Since 2015 the concerts take place also in the Carlshütte in the middle of NordArt.

How to Shoot Golden Hour Portraits That Require Less Editing

Spring is here; it’s a time for golden hour portraits and photographers to get excited about chasing the light in the creation of the killer photo. Many photographers love shooting during the Golden Hour especially due to its ability to deliver soft, golden light and to make a person’s skin tones look fantastic. When it comes to photographing people in traditional portrait settings, there’s something much more appealing about warmer lighting situations than cooler lighting. While cooler lighting surely has its place, warmer lighting is often much more flattering.

So if you want to go out there and create better golden hour photos, here’s how to do it while also spending less time in Lightroom or Capture One.

Using a Lens Hood: Yes or No?

I know, you’re probably looking at this tip and saying “Really?” When it comes to Golden Hour Portraiture though, your lens hood can mean a whole lot. You see, modern lenses arguably don’t need a lens hood when it comes to image creation. The coatings on the lens elements are enough to negate most effects from UV light and flare. But that’s if you want it negated.

Model: Natalie Margiotta

Admittedly, I really like flare. I think that it adds a special character to my images that lots of photographers don’t otherwise get. However, know that if you have flare and don’t use your lens hood that you’re going to get less details overall and sometimes even lose a bit of sharpness. To be fair though, the sharpness lost is negligible unless you plan specifically on pixel peeping your images.

Something else you can also do: try to angle your lens directly into the sun; but don’t do it for long though.
Variable NDs

Sometimes it can be a fantastic idea to use some sort of lens filter when shooting golden hour portraits. The reason for this is because certain filters like a variable ND filter or a polarizing filter can help with a variety of things. For example, this image above was shot with an STF lens–a smooth trans focus lens with what’s more or less an ND filter inside of it that makes the bokeh pop a bit more.

In certain situations if you’re trying to shoot with your lens wide open and at a lower ISO setting, your shutter speed still might not be able to kill all the ambient light in the scene. So Variable ND filters come into play. These filters let you cut down on excess light–think of them as another exposure parameter.

Pro Tip: the latest emulsions of Kodak Portra were designed to be scanned. We recommend Portra 400 more than almost anything else out there.

These come in real handy when shooting film. The ND filter cuts down overall on light if you’re in an area with a lot of saturation from the sun.
Pay Attention to Colors: Keep it to Three Primaries

One of the most basic tips that I tell everyone who wants to shoot golden hour portraits is to watch your colors during the golden hour. To begin with, portraits should really be limited to three major colors as a very general rule. Those colors are:
Skin tone
Wardrobe color (simple colors are sometimes best)
Background color (try to keep it as much into one tonality as possible.)

The reason why this makes shooting golden hour portraits easier is because the light changes and so sometimes what’s warm one second may be really cool another second. That brings us to our next big tip.
Where Exactly Are You Shooting?

ALWAYS ALWAYS ALWAYS be aware of where you’re shooting and what you’re shooting. During the Golden Hour, some photographers may be more obliged to shoot in the shadows of a tree, building etc. But those shadows cast a certain color–they’re often much cooler in color tones. See how the tones on Bec above are warmer and the tones in the background are very cool overall?

That’s much different than shooting out in the actual sunlight where the warmer tones are more dominant in the scene overall. Let there be enough color contrast in your scene to help your subject stand out from the rest of the photo. Consider this in conjunction with various compositional techniques based on the lens type that you’re using.
Daylight or Shade White Balance

Lots and lots of photographers opt for auto white balance settings and then go about tweaking the images in post-production. Personally, I’ve never really been too attached to the auto setting but I’m also very opposed to always manually white balancing for each scene because the camera will balance for what it thinks I want and actually not what I want.

So instead, I typically go about my day working in two white balance modes: daylight and tungsten. But during Golden Hour, I’ll stick with daylight or shade. Daylight and Tungsten are the traditional film white balances and shade is a very digital photo creation.

Daylight, as you may guess, it designed to be used in actual daylight. By nature, it’s a very cool white balance. Shade is a bit warmer overall and can bring that warmth back to the skin tones if you’re shooting in a more shadowy area.

In an effort to stay away from major amounts of post production or more than is really necessary, I lock my white balance into one of these settings when doing golden hour portraits. Try it!

Backlighting a Subject, and Spot Metering

Lastly, I’m going to recommend something that’s inevitable with shooting golden hour portraits: backlighting a subject. When your camera looks at the scene in evaluative metering modes, it’s going to want to compensate for the very strong sunlight. Don’t let your camera do that. Instead, backlight your subject and lock the exposure.

Pro Tip: When shooting wide open, be sure to exercise proper breathing control to ensure that you keep your subject in focus.

With the newer Canon DSLRs, your camera will spot meter based on the actual autofocusing point. But not all cameras do this. Instead, they’ll spot meter based on the center. In that case, you’ll need to focus on your subject using the center point, lock the exposure, recompose and shoot. That’s how photographers have done it for years.

Otherwise, you can just shoot in manual mode, focus on your subject and call it a day.

Try these out and you’ll see that you’ll spend much less time editing.

This California Neuroscientist Shoots ‘Mind-Blowing’ Photos

These landscape photos are the unique work of a PhD candidate nicknamed ‘The Light Ninja.’

It’s said that art mimics life. For 32-year-old neuroscience PhD-candidate Daniel Sanculi, art takes life on a magic carpet ride.

The Colorado native picked up photography a few years ago as a hobby while he was in school. In 2011, Sanculi moved to northern California and picked up a serious outdoors addiction.

“I got into backpacking and hiking in the Sierra Nevada mountains,” he told us. “I quickly realized that these amazing locations would give me an opportunity to capture images of places not many people get to see.”

The Light Ninja

As a neuroscientist, Sanculi creates images not many can see, at least not in reality.

His Instagram handle, @TheLightNinja, pretty well describes his art. Sanculi takes crisp photos and then infuses his imagination with light and color trickery.

“My favorite part is the editing process,” he said. “In my opinion, this is where true art can take place.”

Sanculi inverts colors and augments scenes of forests, rivers, waterfalls, and starscapes.

Like his art? Sanculi will soon sell prints from his website. Until then, check out his Instagram page for tons of more trippy outdoors images.

25 incredible streets you must visit before you die

Which streets have we missed? Let us know in the comments below.

1. Champs-Élysées, Paris

This tree-lined boulevard in Paris’s eighth arrondissement is often described as the “world’s most beautiful avenue”. It runs for just over a mile, linkng the Place de la Concorde with the Arc de Triomphe in Place Charles de Gaulle, passing through the Jardin de Champs-Élysées and its various museums and monuments, including the Grand Palais and Petit Palais. Completed in 1670, the avenue houses scores of luxury shops, cafes and theatres and is the venue for the final miles of the Tour de France cycling race and the Bastille Day military parade.

2. Ocean Drive, Miami

“Running along the ocean from the tip of South Beach to 15th Street, Ocean Drive is a bustling cacophony of Art Deco hotels glowing in neon and pastel, sidewalk cafés serving mojitos the size of fishbowls, and tourists clamouring for a taste of the South Beach good life,” says Telegraph Travel’s Miami expert, Shayne Benowitz. “Lummus Park buffers the ocean with volleyball courts, outdoor workout machines and a winding path with rollerbladers and joggers whizzing by. Here, you’ll also find the Versace Mansion, where the designer was murdered in cold blood in 1997. Taking a stroll along Ocean Drive, lapping up the spectacle, soaking up the sun and enjoying the sea breeze, is a must.”

3. Stradun, Dubrovnik

Despite the crowds, a walk down Stradun, the main thoroughfare in Dubrovnik's old town, is a must, especially if you're a fan of Game of Thrones (it's where Cersei Lannister takes her walk of penance).

“Most of the top attractions in Dubrovnik are concentrated in the car-free old town, within the medieval walls,” says Jane Foster, Telegraph Travel’s Dubrovnik expert. “Two monumental arched gates, Pile (to the west) and Ploče (to the east), serve as entrances to the old town, and they are joined by the main thoroughfare, Stradun (aka Placa). Off each side of Stradun lies a grid of narrow alleys (some involving steep stone steps), harbouring countless cafés, restaurants and apartments to rent.”
4. Nevsky Prospect, St Petersburg

“It’s possible to spend the entire day exploring this three-mile stretch of St Petersburg that was cut through thick woodland in 1718,” explains Marc Bennetts, Telegraph Travel’s St Petersburg expert. “From the Cathedral of Our Lady of Kazan, inspired by St Peter’s Basilica, to the countless cafés, bars and restaurants along the main drag, and just off it, Nevsky Prospekt is the centre of the city’s cultural and social life.” 

5. Broadway and Times Square, New York

The 13-mile Manhattan stretch of this vast street, which also runs through the borough of Bronx for two miles, is home to Times Square, which took its name from The New York Times newspaper (it moved here in 1904, but has moved again since). In 1907 the New Year's Eve tradition, where a "ball" drops from the roof of the old Times building (now One Times Square), began, helping make the square a natural rallying location for New Yorkers (for victory parades, the mark World Series baseball successes, or protest presidential elections). It also, of the course, the city’s hub for theatre, cinema - and giant advertisements.

6. Unter den linden, Berlin

The sprawling boulevard in Berlin’s Mitte district stretches from the City Palace to the Brandeburg Gate. Paul Sullivan, our Berlin expert, says: “It's the city's take on the Champs-Elysée, taking in the chestnut trees and the run of shops, glamorous theatres and excellent museums along the way. It’s a very touristy spot, so for a bit of peace and quiet pop into the Room of Silence on the north side, built specifically for visitors to rest and reflect.”

7. Wenceslas Square, Prague

“The teeming Wenceslas Square is the place to gauge the city’s zeitgeist in the fashions of the up-and-coming and the wares on offer, which now run from classic smoked meats to organic vegetarian smoothies (don’t miss the vast book collection at Palác knih Luxor, Wenceslas Square 41),” says Telegraph Travel’s Prague expert, Will Tizard. “This main thoroughfare, topped by the National Museum and lined with fine Art Deco façades, showcases grimacing figures holding up balconies and the frozen-in-the-1920s Lucerna shopping passage.” 

Wenceslas Square CREDIT: AP
The best hotels in Prague
8. The Royal Mile, Edinburgh

The main street of the Scottish capital’s Old Town actually comprises several streets that link Edinburgh Castle and Holyrood Palace: Castlehill, Lawnmarket, High Street, Cannongate and Abbey Strand. “The distinctive crown spire of St Giles’ Cathedral marks the historic heart of The Royal Mile,” says Linda MacDonald, Telegraph Travel’s Edinburgh expert. “Despite the ponderous piers supporting the tower of the much-altered but essentially Gothic High Kirk of Edinburgh, the soaring interior of this ancient church is flooded with light.”
9. Via Dolorosa, Jerusalem

Jerusalem's most famous thoroughfare, Via Dolorosa - "Way of Sorrow" - is thought to be the route Jesus took, carrying his cross, before his crucifixion. Easter is a particularly busy time for pilgrim groups to walk the route, some with heavy wooden crucifixes in tow. The Stations of the Cross along the way - its start point is contested - mark points in Jesus' struggle: the second station, for example, in the Chapel of the Condemnation in the Franciscan Monastery, is where Jesus was handed his death sentence and beaten by Roman soldiers.

Note: The Foreign Office doesn't currently advise against visiting Jerusalem but warns tourists to exercise caution. See its website for full details. 

Via Dolorasa
10. La Rambla, Barcelona

Sally Davies, our Barcelona expert, writes: "The city's most famous street is a mile-long avenue that begins at the Columbus Monument in front of the port, and ends at the Plaça Catalunya. Recent legislation means that the stalls of caged animals and birds have been (thankfully) replaced with upmarket souvenirs and tourist information points, but the colourful flower stalls remain, as does Miró's pavement mosaic, halfway up. Dotted along the boulevard are the wax and erotic museums, the Palau de la Virreina information centre and exhibition space and, of course, the wonderful Boqueria food market. La Rambla takes on a very different character in winter and first thing in the morning, which is my favourite time to walk it."

11. The Shambles, York

For full atmospheric effect, approach York's greatest building - The Minster - via The Shambles, an ancient cobbled street mentioned in the Domesday Book where the upper stories of the 14th-century timber houses lean out, almost to within touching distance.


12. Hollywood Road, Hong Kong

"While Nathan Road in the Kowloon neighbourhood might be an obvious one to visit, Hollywood Road - where you’ll find the Man Mo temple and a host of antiques shops - is far more interesting," says Telegraph Travel’s Teresa Machan.

Fionnuala McHugh, Telegraph Travel’s Hong Kong expert, adds: "Visitors to Hong Kong tend to come here as their single temple excursion, partly because it is convenient to Central and partly because it is so atmospheric inside. The temple has been here since 1847, and is where the Tung Wah Group of Hospitals, which runs it, still hold Autumn Sacrificial Rites every year for Hong Kong’s continuing prosperity. I like popping in during the quieter afternoons, pausing for a serene, fragrant moment, and watching the ash drop to the stone floor while locals make offerings." 

13. Gurney Drive, Malaysia

The seafront promenade in Penang offers some of the best street food in all of Asia, with countless stalls at the Gurney Drive Hawker Centre that have been operating from the Seventies.
The perfect Malaysia beach and self-drive tour
14. The Dark Hedges, Northern Ireland

Northern Ireland's most photogenic country road, flanked by gloriously gnarled beech trees, provides the otherworldly backdrop for King's Road, a key route through the fictional world of Westeros in the Game of Thrones television series.

The Dark Hedges CREDIT: ALAMY
15. Bourbon Street, New Orleans

“The standard itinerary for most first-time visitors to New Orleans - where its well known jazz festival is played out - includes locating the French Quarter, walking down Bourbon Street and ordering a neon-coloured cocktail,” says Telegraph Travel's Adam Karlin. “Set in the centre of the city’s oldest neighbourhood, the street extends for around 13 blocks from Canal to Esplanade Avenue and forms the main base for the city’s annual Mardi Gras festivities.” 
16. Portobello Road, London

London has countless streets worth exploring, from the cobbles of Middle Temple Lane to the wide expanse of The Mall. 

But we're plumping Portobello Road, home to one of the capital’s most famous markets, which flogs vintage clothes and antiques and dates back to 1740. “You can visit the travel bookshop of the character played by actor Hugh Grant in the film Notting Hill - it's actually a shoe shop on Portobello Road. Just around the corner on Blenheim Crescent you’ll find the real life Travel Bookshop, which was the inspiration behind the one in the movie,” says Sally Peck, Telegraph Travel’s family travel editor.

17. Beale Street, Memphis

Memphis is a crucible of American myth and tragedy. The city itself, though comparatively small, punches above its weight in terms of attractions and cachet. The bars of Beale Street may be a pale imitation of what they were when a teenage Elvis hung out here, but they still rock every night. The King, of course, is credited with giving birth to rock and roll, when he recorded That’s All Right, Mama in Sun Studio (now a museum) in Memphis in 1954, and his former home at Graceland has become a site of secular pilgrimage.
18. The Royal Crescent and The Circus, Bath

“Built by John Wood the Younger from 1767 to 1775, when it overlooked fields, Bath’s most singularly impressive piece of architecture is, in fact, a half-ellipse, not a crescent,” says Fred Mawer, our Bath expert. “Its 30 houses are now mostly divided up into apartments – John Cleese owns one. Conjure up a reason (afternoon tea?) to pop in to The Royal Crescent Hotel for a snoop. Also have a look around No 1 Royal Crescent ( Maintained by the Bath Preservation Trust, it is furnished in period style, and a major restoration project has reunited it with its original service wing.


“Encircling vast plane trees, the Circus is Bath’s other must-see Georgian masterpiece – note the carved motifs, some of them Masonic, on the houses’ facades.” 
19. Khao San Road, Bangkok

Beautiful it is not, but every trip to Bangkok should include a stroll down the city's hectic backpacker thoroughfare. It will make visits to the city's temples - or escapes to Thailand's islands - even more rewarding.
20. Haight-Ashbury, San Francisco

The intersection of Haight and Ashbury streets in San Francisco forms this historic district - known as the birthplace of hippie culture. The area is also known for its "painted ladies" - a collection of nearly 48,000 Victorian and Edwardian houses painting in bright colours. 

The Painted Ladies in Haight-Ashbury CREDIT: AP

San Francisco has a couple of curiosities too. Dubbed the "most crooked street in the world", Lombard Street features a series of crazy switchbacks, and has appeared in several films, such as Vertigo and Bullitt. The zig-zag design was introduced in 1922 to help reduce the road's natural 27 per cent slope. Filbert and 22nd Streets, meanwhile, are among the steepest in the world (31.5 per cent).

An aerial view of Lombard Street CREDIT: ALAMY
21. Baldwin Street, Dunedin

While we're on the subject of steepness, we ought to mention Baldwin Street, the world’s steepest residential road, according to Guinness World Records. It lies a couple of miles northeast of Dunedin’s city centre and is 350 metres long, rising from 30m to 100m above sea level. That amounts to an average gradient of 1:5, or 20 per cent. The upper half is far steeper, however, with an average slope of 1:3.41 and a maximum of 1:2.86, or 35 per cent. Its steepness was unintentional. The city’s streets were laid out in a grid pattern by planners in London with no consideration for the terrain.

22. South Congress Avenue, Austin

This street in Austin, often dubbed America’s "coolest" city, features a host of hip hotels, trendy restaurants, food trucks, thrift stores, cowboy boot shops and design boutiques.
23. Shijo Avenue, Kyoto

This long, narrow, pedestrianised riverside walk in Kyoto's Gion district is where you're likely to see geisha scuttling to work at dusk.
24. Route 66

The longest road on our list, Route 66 stretches from Chicago to San Francisco. Chris Moss writes: "In the Forties and Fifties, Route 66 was sometimes dubbed 'America’s Main Street', passing through many small towns in the Midwest and Southwest. Although the original trunk road was decommissioned in 1984, Historic Route 66 preserves much of the old atmosphere. Route 66 is also a tick-list of famous topographies, including downtown Chicago, St Louis, the Grand Canyon and Santa Monica beach. Stop off at classy, cult and kitsch hotels and restaurants, including the Ariston Café in Litchfield, Illinois, said to be the oldest on the route; ultra-retro Munger Moss Motel in Lebanon, Missouri; Hollywood favourite the El Rancho Hotel in Gallup, New Mexico and beautiful La Posada Hotel in Winslow, Arizona."

25. Spreuerhofstraße, Reutlingen, Germany

And the tiniest. Measuring around 31 centimetres at its narrowest point, and 50 centimetres at its widest, Spreuerhofstraße is said to be the world’s narrowest street. Set in Reutlingen in south-west Germany, it was built in 1727 after the surrounding area was demolished by a fire in 1726.