Sunday, April 1, 2018

 The resurrected "Rhythmistic Quilts" Collection is doing well. 

Prof. Onli is open to important venues and opportunities such as exhibitions, artist-in-residency or having these impressive works placed in collections and archives.  

The renaissance of these powerful future-primitif quilts are the organic intersection of the formalities of selected traditional or rare icons re-contextualized to achieve their unique look while expressing core aspects or world cultures. 

The original collection was subject to the destructive forces of a devastating studio fire in 2001. A few were spared total destruction.  Now new life is flowing into this body of work. Assorted fabrics are painted then embellished in collaboration by quilters.

First by restoring the damaged quilts then creating new ones. All based on reconnecting with the original working creative vision.

They are the result of research done by Prof. Onli at the prestigious School of the Art Institute of Chicago along with finishing embellishments by several fiber-artists or craftspeople over the course of decades in production such as the late traditional quilter' poet, Marian Hayes. 



Currently master-quilter Patrick Whalen is the lead quilter who has stepped in to complete these vital works.
Art is cultural
Art collecting has a history that spans millennia. Art has always been an inherent part of culture and has the power to bring about great change within societies.

What excites many passionate art patrons is the possibility of developing their own personal taste and interpretation on artworks. By prioritizing personal preference over profitability or ‘popularity’, a collector can assemble a unique collection and advance the appreciation of an emerging trend, a dynamic style, a particular artist, the history of art and even its evolution.

These quilts belong in the most precious of collections be they personal of institutional.  They are a nexus of research, appreciation, fertile technique and cross-cultural disciplined collaborations.
Prof. Onli shown with the first quilt produced in collaboration with Patrick Whalen. "Baule Quilts".
The image-area was distressed in Onli's studio fire, but now given new life and power. On exhibit at the McCormick Gallery in Michigan City.

"When "they" exclude Rhythmistic visual art "they" affirm its exclusiveness!"
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                 Be sure to use the Older Post tab in the lower 
                 right of the last lower bar frame to see more.                                   Just touch the right side of the last bar.
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"Tao" circa 2003 colored pencils, 24"X18". by Turtel Onli
Rendered in Onli's Cosmopolitan Rhythmistic style that he cultivated while working as a major market illustrator with the likes of Playboy's OUI Magazine & The Rolling Stones.


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Building or growing a vital fine art collection requires taking a more holistic view of art. Whilst a work may prove to be a worthy financial investment, its value extends much further. The cultural value in art is of a much greater significance. Art is the result of the expressive nexus of skills and passions and as such is an investment in people and culture, rather than simply a means by which to deepen our pockets. 
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Though art often have a price tag, art itself is priceless. 
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NEW YORK, NY.- Jane Kallir, co-director of Galerie St. Etienne, has issued her 2018 market report on
the state of art world. Kallir has identified a number of conditions that are affecting the market and
impacting galleries and auction houses. Among her concerns are:

• Baby-boomers are aging out of the art market, and not being replaced in comparable numbers.

• The art market is increasing controlled by the major auction houses and a handful of high-powered
dealers.

• Poaching of big ticket artists by mega-dealers destroys the creative ecosystem that fosters important
but less marketable work.

• The fundamental framework for assessing quality has been replaced by a system in which marketing
 prowess and financial value often trump aesthetic value.

Will fundamental economic changes destroy the art world as we now know it? Kallir notes that
millennials earn 20 percent less than boomers did at their age. Income inequality is on the rise and likely
to continue.

With major auction houses and mega-dealers gobbling up market share, mid-size galleries are facing
financial pressures from high rents and the expensive art fair circuit. Kallir notes that today, for the first
 time in recent memory, more galleries are closing than opening.

Another worrisome development is that the largest galleries are poaching major artists away from smaller
galleries. The more successful artists in a gallery’s stable are the cash cows, which help finance the
presentation of work by other artists. The art world depends on dealers to nurture emerging talent with
the understanding that they will reap the rewards if and when an artist becomes successful.

Grouping works according to origin, period, artistic intent, medium, etc., facilitated comparative
judgments in the past, but this approach to connoisseurship has fallen out of fashion. An obsession with
glamour, scandal, and money has largely replaced serious art criticism.

The FUTURE OF ART: 2018 Art Market Report: Jane Kallir has been issuing annual
art market reports since 2000.