🔥 Vintage Latin Modern Venezuelan Surrealist Oil Painting, Anita PANTIN 1987

Description: This is an important and seldomly seen Fine Vintage Latin Modern Venezuelan Surrealist Avant Garde Oil Painting on fine linen canvas, by renowned Venezuelan Post-Modernist multi-media artist, Anita Pantin (b. 1949.) This artwork depicts the avant-garde portrait of a visibly distressed young woman, rendered in the form of a Classical bust sculpture, with heavy, dripping eye make-up, and wearing the elaborate feathers and flowers of an ornate headdress on her head, which cascade down across the painting. The headdress, facial features, and other aspects of this portrait are rendered in extraordinary detail and highlight the artistic talent of Anita Pantin. This is a very early painting by this talented artist, who has since forsaken traditional oil painting, and switched to predominantly videographic art. Titled on the verso: "Sobre la Comedia Francesca." Additionally, this piece is signed, annotated and dated on the verso: "Anita Pantin. Paris '84" This impressive artwork is approximately 37 1/2 x 49 inches. Very good condition for age, size, and storage, with a few speckles of soiling to the canvas, and mild pressure marks along the center and edges of the painted surface (please see photos.) Priced to Sell. A little-known fact to Americans is that Pantin's original artwork was the inspiration for the legendary Reebok Kamikaze sneaker, designed by Ricardo Vestuti in the mid 1990's (Read more about this below.) Due to the large size of this item, S&H costs will be unavoidably high. However, Free Local Pickup from Los Angeles County, California is also an option. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About the Artist: Anita Pantin was born in Caracas, Venezuela and started her artistic career from an early age. At 13 she moved to Rome to learn classical drawing in a private studio. Pantin created visual art works, video, stage and costume design that were presented in Venezuela, Canada, Europe and USA, concert halls with both classical opera and contemporary composers. In the 90s Pantin moved to the United States and began collaborating with the ACTlab (Advanced Communication Technologies Laboratory) at the University of Texas, Austin. There, her fascination for the expansion of art towards new ways of representation was realized through work in digital media, placing her in the vanguard of digital art in Venezuela. Since 2005 Pantin has been living in New York where she continues to develop different media techniques, always incorporating into her digital work the lightness of the trace, the chromatic contrasts that were part of her oil paintings, silkscreens, set and costume designs. Her video installations, VJing, were shown in BRIC Rotunda gallery, Monkey Town, and King Juan Carlos I of Spain Center – New York University, One Art Space. In 2009 Pantin was awarded The Venezuelan Artist Prize by the International Association of Art Critics (AICA). Anita Pantin is a Venezuelan painter, scenographer and digital artist. In the 70s and 80s she exhibited in galleries and museums, & designed stage & costumes for opera & theater (“Madame Butterfly”, “Tosca”, “Ne blâmez jamais les bédouins”, etc.) in Caracas & Montreal. In the 90s she collaborated with the Advanced Communication Technologies Laboratory, at the University of Texas, Austin. (1993-2004), & started working with digital media. Since 2005, she lives in New York where she continues to explore different media & techniques, always integrating into her digital work. Anita Pantin(Venezuelan, born 1949) 1949Born in Caracas, Venezuela2009Awarded The Venezuelan Artist Prize by the International Association of Art Critics (AICA) Song for the Living/Dance for the Deadby Russell Pinkston choreography by Mata Sakka video by Anita Pantin Performe by: Bernd Burgmaier, Nadez Catenacci, Hristoula Haraka, Inger Malene, Glette, Vicky Kolovou, Maggie Lloyd, and Hope MohrSong for the Living/Dance for the Dead is a triple collaboration between composer Russell Pinkston, choreographer Mata Sakka, and video artist Anita Pantin.The music is comprised of electro-acoustic samples of speech, nature sounds, and processed sounds. Though sometimes the music is purely sequenced via MAX, most often the music is directly controlled by the movements of a corps of 8 dancers. In order to facilitate this interaction between performers and computers, the work relies on an interface system in two parts. A main component of the interface are the two large "MIDI Dance Floors" which are positioned along the side and back of the stage and serve as large triggers which react when a dancer steps on or off of the floor. In the opening of the piece, two dancers enter the stage, together working their way down the floor, each step eliciting another sound. Later, two dancers alternately leaping on and off of the two dance floors trigger contrasting "cool" and "hot" sounds. During an extended, intensely rhythmic middle section, Pinkston utilizes a video tracking system which, by "watching" the dancers' movements enables them to influence the music. The camera's view is divided into two fields, and as an energetic percussion sequence drives the music, the dancers' frenetic movements trigger various sonic events which augment the already dense texture. The musical world of Song for the Living/Dance for the Dead is concerned with the contrast between cold and hot. This theme is explicitly conveyed at some points where the words "cool" and "hot" are spoken. Furthermore, the concepts of cool and hot weave their way into the language of the piece in other ways as well: bright and sterile timbres are contrasted with dark timbres and expansive, sparse sections contrast with rhythmically exciting passages. Anita Pantin's video was a visual complement to the ensemble of dancers and added yet another dimension to the movement on stage. Report written by David Birchfield, Producer of the Movement and Sound Concerts NeoyorquinosGROUP SHOWDecember 14 — December 31, 2021“Historias desde una urbe trasnochada, frenética, y descarada”Ace Hotel New York, ViceVersa Magazine, and Timeline Digital are pleased to present “Neoyorquinos,” a group show featuring selected work of four Latin American visual artists who are part of the Spotify original podcast of the same name. Though widely different in their disciplines, Emmanuel Guillén Lozano, Anita Pantin, Yeti Oc, and Rolando Peña, share a unique urge to participate and advocate for social causes through their art.Gazing through the creative, artistic, and activist lenses of the artists featured in Neoyorquinos, the installation and podcast, allow us to expand our narratives and imagine a more complex and nuanced immigrant experience. Their pieces are displayed alongside the photographs taken by Neoyorquinos podcast director and co-creator, Flavia Romani. These walls invite you to glimpse at their unique perspective and stories of letdowns and celebrations, of passion and determination needed to stay and thrive in New York. NEOYORQUINOS is a Spotify original podcast, produced by ViceVersa Magazine and Timeline Digital. Il Lee in Infinite Line: Contemporary Drawing in Time and Space at BRIC Rotunda GalleryIL LEE’s works featured in the exhibition:Infinite Line: Contemporary Drawing in Time and SpaceAlso featuring Yvonne Estrada, Anita Pantin, Claudia Vieira, Julia von Eichel and Hong ZhangJanuary 16 – March 1, 2008BRIC Rotunda GalleryBrooklyn, New York THE METROPOLITAN MUSEUM OF ART WITH PAINTER ANITA PANTIN Approaching the Metropolitan Museum of Art in New York is an emotion that awakens all our senses. We crossed Fifth Avenue amidst the confusion of tourists, and trying to avoid the dense smoke of smells coming from the tarantines offering drinks, hot dogs and pretzels. The wide staircase leading up to the entrance is a promise of happiness. He knows this well Anita Pantin, a Venezuelan and American painter who, on her birthday, stood at the foot of the stairs and knew at that moment that New York would be her forever home. "I looked at the staircase that led to the Metropolitan from Fifth Avenue and I felt privileged. Spending my birthday there made me feel alive and eager to continue learning. I understood that the Met is a house I didn't want to leave behind." He spends entire days in its corridors in a silent dialogue with artists from other worlds and other times. With her petite body and an avid curiosity and a capacity for wonder in her eyes that maintains the freshness of childhood, Anita Pantin moves with a harmony that seems to emerge from a secret music that only she can hear. He goes from one painting to another, from one room to another, tirelessly showing us the works he loves the most, the artists he admires the most and whose legacy he treasures. "The Metropolitan is a space where you find the work of human beings who have tried to give the best of themselves. Everyone, even those who were forced to work, sought excellence. Having them together in the same place is a treasure, it's like being in another dimension. This is where the great loves live, the loves of always, the ones you discover, the ones you forget little by little and yet they don't go away. It's a family that never abandons you." Anita Pantin is a painter. That's how she loves to define herself and it couldn't be any other way because Anita paints, she always paints, even without brushes, she paints with her eyes, with gestures, with words, with her whole body. Rivers of colors run through his veins that struggle to get out. They run, they scream, they cry, they sigh. They are feelings and emotions, thoughts and reflections. There is no room for indifference in the life of Anita Pantin, who scrutinizes the world with the eyes of an artist and transforms it into strokes and colors, encloses it within a screen or spreads it on a canvas. "The first time I was given a box of crayons was when I was eight years old and had a high fever that kept me in bed. Those crayons opened up a world to me. At that time I was living in a house with an internal courtyard in a small town in Venezuela and I felt that, with my crayons, I could overcome walls, build alternative worlds in which to escape. I would look at the sky and think 'I can go out and travel because I can invent anything with my crayons'. I had no idea what art was, but I knew there were no limits in a box of crayons." About two or three years later, a teacher gives him a book on art history. "It was a serious, fat book, without colors, and my teacher María Teresa Martínez told me: 'It's for you because you're an artist.' That lady changed my life."When she was just 13 years old, she had a relapse of measles and became so weak that she was taken out of school and then sent to Rome to study drawing. The "great beauty" of the Eternal City restored health to her body and Anita, free from all bonds, tasted the joy of curiosity and immersed herself fully in the magnificent works of art that enclose every corner, church, museum, palace or park of that city. There he studied classical drawing with a teacher from northern Italy with a serious disposition and few words. "He had two other students and when I arrived he told me. ' Draw that head. Do what you can.' It was a plaster cast of a Michelangelo Madonna. He ignored me for a few days, leaving me immersed in my uncertainties. Finally he sat down next to me and, with admirable respect and seriousness, said, 'I'm not going to teach you how to draw, I'm going to teach you how to see.' On the edge of the drawing he wrote his suggestions: change a line, modify a shadow, a light, and I felt that once again the world opened up in front of me."Back in Venezuela, life led her to cross paths with other great masters who marked her artistic trajectory. She remembers Pilar Aranda and Francisco San José, who introduced her to oil paintings, Luisa Palacios of whom she says "in her beautiful workshop, surrounded by her enthusiasm and generosity, I began to make art seriously". Thanks to her and Lourdes Blanco, he held his first exhibition at the prestigious Sala Mendoza. "I was only 19 years old, almost a child and I was very scared. From that moment on, I did a lot of exhibitions. Those were golden years for art in Venezuela, there was a profusion of galleries and many patrons who bet on young people like me."With an emotion and admiration that have been crystallized over time, she tells us about Luisa Richter, Gego "the mother of all of us" and Miguel Arroyo who taught her the silvertip technique. "I once walked into the class of Gego, an artist I passionately admired. She turned her face and saw me. He stopped talking and, to everyone's astonishment, told me: 'Anita, the design you gave Miguel is... and pampered a kiss.'" Anita's whole body lights up at that memory that she treasures like a master class.Anita Pantin's gypsy apprenticeship continued unabated. He has been absorbing from here and there to feed an insatiable hunger for knowledge and the irrepressible desire to experiment.A milestone in his artistic life was marked by the discovery of the first electronic pens that allowed us to preserve the memory of each of the stages of a work. The amazement and joy of being able to freeze in time even the magic of the first stroke, "the freest, the one that springs from the soul, that no one will ever discover behind the many layers that will cover it" leads her to immerse herself in the world of new technologies. He started in Caracas and continued at the University of Texas where he was supposed to study for a semester and stayed for 7 years as a visiting scholar.In the world of technology, Anita, like Alice, finds wonderland. Animation with its many facets bursts into his world and changes it definitively.One of his earliest works stems from a harrowing photo showing the corpses of street children killed by police in Brazil. Seeing that image produces an infinite pain that expands like an echo from the soul to every bone of his body. "I felt the need to do something with that photo but I knew that working with human suffering is very difficult, it's dangerous. After thinking about it a lot, I scanned the photos, child after child, then I chose one and started drawing by hand on it. I drew and recorded, the drawing became more frenetic every moment and in my mind I felt the rumble of a batucada that marked the rhythm. I didn't think, I obeyed. I've never been so involved in a project before."Later on, he made an exhibition with animations of three moments of a space he designed. "It's like a cinema in three frames that interact and build a visual narrative for which I had to deal with movement and rhythm. I also did a job called The Circus. I did it with a series of small screens that are my characters."Anita Pantin has wandered through photography and sculpture, she has scrutinized the world from a microscope giving life and beauty to these infinitely small beings, and from a very young age she has also ventured into the theater designing sets and costumes. "Working on stage is the same as making a painting, but a painting that moves. To do so, you must know the texture of fabrics, the power of colors. A lot of times I couldn't find the fabrics I wanted, so I learned how to paint them." That passion has been transformed into a job she does for silk creators Luisa Esteva and Leo Tirado.Digital mixes with oil painting. "Suddenly, the oil painting seemed too rigid, too severe. I needed to make it more fluid, so I decided to integrate it with digital. Sometimes I take photos of my brushstrokes and digitally deform them, other times I compose them on a computer and use them as a starting point. Oleo and digital feed off each other."Pantin tirelessly walks through the halls of the Metropolitan. Groups of tourists interrupt the magic of our conversation, but they don't dampen Anita's enthusiasm. Art is his life, it is a necessity of the body and a joy of the soul. When you work, you can waste an entire day scrutinizing a spot, looking for the best light to achieve the emotion you want to convey.Enveloped in so much beauty, in the midst of such a profusion of creativity, we ask her what is the moment in which that spark arises in her that will be transformed into art. "There are many and varied pretexts. It can be two colors, a space, a light."– Apart from the Met, what is your relationship with New York?"Before I moved, I definitely came there regularly. I loved this city, I went into all the bookstores, I visited museums and galleries. I would stay at a friend's house in the Village and return with a suitcase full of books and art supplies. That birthday spent in this Museum was decisive in making the decision to live here permanently. However, since I was given citizenship, the relationship with this city has changed. Now I feel like I have responsibilities. Before, he was like one of those lovers that you can leave and grab again without any major problems.""What if you had to leave?""I'm not leaving. The Birth and Life of Reebok KamikazeShawn Kemp, the Seattle SuperSonics forward in the 1993-94 NBA season, was ranking high in the league due to his significant contributions to the team's success. With an impressive record and a great career ahead of him, Reebok partnered up with him. Signature sneakers were becoming more popular by the day. Reebok executives took the initiative and signed a deal with the rising star that would see the brand record impressive sales in the future.Ricardo Vestuti, the brains behind the Reebok Kamikaze, was not conversant with Shawn Kemp. However, he designed the sneakers, drawing his inspiration from Anita Pantin, a Venezuelan visual artist. According to Vestuti, the painting had a crown of thorns that, when incorporated into the shoe design, brought out an edgy and religious feel. Vestuti explained that the aesthetic looked like barbed wire and created an outdoor feeling with concrete, steel, and chain fences.Coining a name was no walk in the park. Suggestions were coming in, such as Altimeter, Adversary, and Eliminator. However, the name Kamikaze was decided on. It means spirit wind or divine wind. Vestuti did not work alone. Scott Hewitt, a Reebok designer, gave the sneaker a bold black and white color. Hewitt's career in designing basketball shoes took off after Kamikaze's success.In 1995, as the new season kicked off, Shawn Kemp debuted the Reebok Kamikaze on the court. It was an instant hit. The positive review gave Reebok the idea of which direction the shoe collection would go. The following year, Reebok released Kamikaze 2. However, it was the end of Kamikaze's era. In 1997, Shawn Kemp moved to Cleveland after the SuperSonics had a dissatisfying season. "Reebok designer Ricardo Vestuti was tasked with creating the sneaker for the dynamic power forward. The sneaker went through several possible names; Altimeter, Eliminator and Adversary to name a few, before finally landing on Kamikaze.While the finished product – flashy, aggressive and brash – was a perfect accompaniment to the Reignman’s game, Vestuti admits he wasn’t familiar with Shawn Kemp at the time. The design of the Kamikaze 1 was in fact inspired by a Venezuelan visual artist.“I began with some triangular upper graphic panels,” Vestuti told Complex AU. “The tread pattern, I remember, was based on a painting that a Venezuelan artist Anita Pantin made that had a crown of thorns. I liked that aesthetic because it looked like barbed wire, and I thought that had an outdoor hardcourt feel; concrete, steel, chain-link fences, and barbed wire, all design elements that spoke of the city. It was both edgy and religious simultaneously."

Price: 3500 USD

Location: Orange, California

End Time: 2024-08-23T01:32:32.000Z

Shipping Cost: 45 USD