Aldeaduero, Spain: ART NEWS – The Angel Orensanz Territory

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Sculptor Angel Orensanz inspects the gorgeous views of Aldeaduero, Spain.

Aldeaduero, Spain Celebrates the Opening of the “Angel Orensanz Territory.”

March 17, 2014

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St. Patrick’s Day in New York City – courtesy of

Today, the city of New York celebrates St. Patrick’s Day through a blur of emerald sequins, shamrocks, certain green-tinted beverages, and of course, the grand tradition of the New York City St. Patrick’s Day Parade that has drawn audiences to the streets of the city for over 250 years.

Southeast of the excitement that currently emanates from Fifth Avenue and 44th Street in Manhattan, the Angel Orensanz Foundation for the Arts celebrates another milestone in the career of its founding artist and sculptor Angel Orensanz. On this day in Aldeaduero, Spain, the local government establishes the “Territory Orensanz” along the famed banks of the river Duero.

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A series of sculptures by Angel Orensanz in Aldeduero, Spain.

The ceremony kicks off in Aldeaduero, Spain at 1pm this afternoon and will be attended by honoree Angel Orensanz, as well as His Excellency the President of the Council of Salamaca, Francisco Javier Garcia Iglesias and the Director General of Tourism of Castilla and Leon, Javier Ramirez Utrilla. Mayors and members of civil authority of the Portuguese-Spanish border countries as well as provincial, regional, and national representatives of Spain congregate for an official presentation of the environmental art installations of Angel Orensanz in the region.

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A series of sculptures by Angel Orensanz in Aldeaduero, Spain.

The work presented in Aldeaduero, Spain was installed by Orensanz with heavy influences of film production and large-scale industrial architecture. The iconic platform upon which the pieces operate serve as “proto-structures with references to ancient structures and instruments” such as Totems or trees that recall both archaic use and futuristic technology. 

These tubular elements with which Orensanz utilizes space have an expressive value about them which is highly poetic, almost musical. In this way does the art work in tandem with the regional climate of Aldeaduero, Spain – one of water, body, wind and clouds, and especially timelessness.

From the Aldeaduero, Spain regional tourism website:

“Facing the background of the physical universe, this language of Orensanz, as a minimal archetype, becomes an humanistic and idealistic sculpture : one that mimics nature but does not seek to represent her entirely.Its value is that of all human endeavor, conscious of its own limits and its own outputs. It is a language in which to contemplate the human being can be sublimated in beauty and find a new hope.”

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View of the Aldeaduero river in Spain, with sculpture by Angel Orensanz in the foreground.

Angel Orensanz continues his long artistic career as one of the pioneer creatures of the new century, and this step in Spain of establishing the Territorio Orensanz solidifies his identity as a “global artist.”At present, Orensanz’s work continues from his studio Paris, as well as here at the Foundation on Norfolk Street,  in Manhattan, New York. Both sites will continue to serve in correspondence with one another, as aglobal showcase linked to the installations in Aldeaduero

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Sculptor Angel Orensanz creates a work of living photo-art with patient donkey in Aldeaduero, Spain.








Remembering Philip Seymour Hoffman: an “Artists. We. LOVE.” Special Edition.

Philip Seymour Hoffman: The Death of an Artist

An Angel Orensanz Foundation for the Arts Special Report – “Artists. We. LOVE.” – Philip Seymour Hoffman

by: Zoe V. SpeasThe Angel Orensanz Foundation for the Arts

Philip Seymour Hoffman - Angel Orensanz Foundation for the Arts - New York City

“To be loved, I think, is the thing that gets you up in the morning.” – Philip Seymour Hoffman (1967-2014).

From the National Public Radio’s interview with actor Philip Seymour Hoffman in 2012. (On playing Willy Loman in Arthur Miller’s Death of a Salesman)

“It’s never that simple – why we’re here, what are we doing? Family, work, friends, hopes, dreams, careers… What is happiness? What is success? What does it mean? Is it important? How do you get it?   To be loved, I think, is the thing that gets you up in the morning.”

With great sadness and respect today I present our newest edition of “Artists. We. LOVE.” at the Angel Orensanz Foundation for the Arts in New York City. On behalf of the Foundation, I would like to commemorate and pay homage to the life and work of a truly gifted actor of stage and screen: Philip Seymour Hoffman.

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Philip Seymour Hoffman as Truman Capote in the 2005 film “Capote.”

The actor passed away yesterday morning of an apparent drug overdose in his West Village office apartment. He was forty-six years old.

His apartment is mere blocks away from New York University, where Hoffman graduated from the Tisch School of the Arts with a BFA in 1989. Recently, the actor actively participated in an on-going petition against the University’s $6 billion “Sexton Plan” proposal to expand the institution in 2031, potentially devastating the historical district of New York’s Greenwich Village. Hoffman was joined by celebrities such as Padma Lakshmi, Philip Glass, and Fran Lebowitz in a partnership with the NYU Faculty Against the Sexton Plan to hold a celebrity auction with the goal of raising money for opposing legal action.

One of the items in the celebrity auction included a two-hour acting lesson with Philip Seymour Hoffman.

If you’ve not been familiar with the actor’s portfolio of work over the last two decades, I’ll reiterate the sort of list you can find in the New York Times or the Post to summarize Hoffman’s career.

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Brigitte Lacombe for New York Magazine. Philip Seymour Hoffman as Willy Loman in Arthur Miller’s ‘Death of a Salesman’ 2012.

The actor’s first role was as a defendant on the television program Law and Order in 1991, after which he made his film debut in the Al Pacino film Scent of a Woman in 1992. Hoffman’s major roles have included Brandt in The Big Lebowski (1998) and Truman Capote in Capote (2005), for which he won the Academy Award. He portrayed the villainous Owen Davian in Mission Impossible: III (2006), Father Brendan Flynn in Doubt (2008), as well as Lancaster Dodd in The Master (2012) directed by Paul Thomas Anderson, with whom the actor collaborated for five out of the director’s six films to date.

Philip Seymour Hoffman - The Angel Orensanz Foundation

The very first on-screen appearance for Hoffman was a defendant in ‘Law and Order’ in 1991.

Philip Seymour Hoffman’s extensive theatrical background includes performances in the 2000 revival of Sam Shepard’s True West and the 2003 revival of Eugene O’Neill’s A Long Day’s Journey into Night. Most recently, Hoffman tackled the iconic role of Willy Loman in the Broadway production of Arthur Miller’s Death of a Salesman directed by Mike Nichols. For all three performances, Hoffman was nominated for the theatre’s prestigious Tony Award.   Hoffman had just seven days of filming remaining for his current work with the Hunger Games franchise. The production company plans to release the two final installments (Mockingjay: Part 1 and Mockingjay: Part 2) with the actor’s completed work posthumously in 2014 and 2015 respectively. He portrayed the character of Plutarch Heavensbee in the film adaptation of author Suzanne Collins’ YA trilogy.

It’s a heavy thing to outline the life achievements of a man after he’s gone, as though the catalogue is intended to deepen the impact of his loss in some way. Perhaps, with celebrity culture being as intimate and as removed as it is today, we simply need something to say to illustrate our connection with a man we never knew but loved from our places in the darkened seats of a cinema house.

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Philip Seymour Hoffman and the cast of ‘The Hunger Games: Catching Fire’ sequel which opened in the US in 2013.

Not to say that our relationship as audience members with the deceased has no meaning or depth: with the onslaught of celebrity deaths in the past year(s), the emotional outcry of a grieving public is evidence enough of this depth of feeling. The truth is, it was a relationship – a tenuous, symbiotic interchange between the artist and the public that has been a pillar of our culture for centuries. Every artist in the industry relies upon his audience to survive. Money and box office revenue aside, what would Death of a Salesman be without living, breathing souls to witness the art of actors bringing characters to life? A film played upon an enormous screen in an empty house is nothing more than a multi-million dollar light show with no resonance. You need hearts and minds for the kind of resonance that Hoffman triggered in his work.

Money, fame, status – they’re just the side effects. And not necessarily positive ones, at that.

Philip Seymour Hoffman - New York City - Angel Orensanz Foundation for the ArtsSo, no, we didn’t know the late Mr. Hoffman. We didn’t know the man. We didn’t share in his life and his personal experiences. Like many of my friends, I posted a few words on Facebook in memory of the actor. My heart twists when I think of the family he leaves behind, of the three young children and their mom, of all the fellow actors and directors who had the opportunity to create art with this man, of friends who loved him.

Of everyone who understands death a little too well now, and for whom life will never be the same.

This is not celebrity-dom. This is life and death. This is universal. We stand up in a service for the loved ones we lose and speak of the sanctity of their memory. We press our hands to the hands of grieving family members who will immortalize the deceased through their love. And the death of famous members of our society are not exempt to this ritual. But perhaps we must acknowledge that artists like Philip Seymour Hoffman have a second, more public, more emblematic death mourned by audiences of strangers who followed and supported his career.

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Philip Seymour Hoffman on acting.

The death of the man coincides with the death of the artist, and we knew the artist. We mourn the artist. And we celebrate in the immortality that our relationship as the public has given the artist. For as long as there are screens and projectors and audiences, the work lives on – captured and preserved for the sake of generations to come.

Setting the Stage: New Year’s Eve 2013 in Times Square

Setting the Stage: Times Square at New Year’s Eve

A closer look at the spectacle of Times Square on December 31st.

By: Al Orensanz, Ph.D and Zoe V. Speas

, The Angel Orensanz Foundation for the Arts

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The spectacle of Times Square at New Year’s Eve 2013 consumes the attention of viewers of all ages.

In 1904, the owners of One Times Square assembled parties of friends and co-workers on the rooftop of their building to ring in the New Year. Three years later, in 1907, the first ceremony of lowering the Ball was held in the iconic heart of Manhattan. Tomorrow night, over a century later and in the face of biting cold and ungodly congestion, the tradition continues.

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The New Year’s Eve Ball, made of Waterford Crystal, which will descend at 11:59pm on December 31st.

New Year’s Eve throws Times Square into the spotlight as the single point upon which the urban attention and media distribution of the world focuses as a beacon of celebration for the holiday. The city center becomes a international center, and, despite the performances and A-list appearances, it will be the sea of people gathered along Broadway and Seventh Avenue who are the true stars of the show.

They will make the stage of New Year’s Eve come alive and millions of eyes across America will watch the last few seconds of 2013 tick away with them, wishing they stood beneath the downpour of confetti and flashing 
lights. They are why, for those last ten seconds of the previous year, Times Square becomes the center of the universe. The people.

Paris has fashion. Theatre and Shakespeare’s Globe encompass the city of London. St. Peter’s Square has been the cornerstone of Rome for centuries, as with the Acropolis in Athens. But in New York, the energy of the people within provide the city with its most famous trademark. New York City is not the capital of the United States, nor even the State, itself. The people – regardless of personality or social strata – are the character of the town that has sealed its renown.

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The people create the character and the energy of the city, and not just in Times Square on New Year’s.

The official event lineup features live performances such as Blondie, Miley Cyrus, Macklemore and Ryan Lewis; John Lennon’s Imagine, to be performed by Melissa Etheridge, is another beloved classic. Traditional Chinese performances featuring Kung Fu and a colorful fan dance will kick off the festivities early in the evening. The celebration also will be highlighted with exclusive trailers and clips featuring views of Times Square and the surrounding neighborhood.

The backdrop for the festivities tomorrow night will consist of over a hundred buildings coated “from the crown to the toe top full” of neon advertisements and billboards. Thousands of LED lights illuminate Times Square, making it a fully-functional, 24/7 commercial advertising theme park of giant, electronic ad/art that render the buildings they cover completely unidentifiable. Even in “ordinary time”, the buildings along Times Square operate as embodiments of virtual information, carrying very little relativity to the tenants within as opposed to the advertisements assigned to them. The immersive experience of Times Square at New Year’s Eve, as well as the live recording of the night’s events, create blissful accomplices of those assembled beneath the world’s most spectacular advertising strategy.

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New York City at New Year’s Eve.

However, another layer of the visual and perceptual experience of New Year’s Eve at Times Square must be accounted for – the generation of advertisements originating directly from national television networks which are delivered into the living rooms of viewers throughout America and beyond. The messages transmitted through pixels and sound-bytes are intermingled with the physical world and surround the crowds beneath the crystal ball, those gathered around a television at home, or at their local watering hole, blocks away from the hub of it all.

Tomorrow night, Times Square will transform even more potently into a vortex of action and movement for its New Year’s Eve celebration. Technicians and cameramen from New York networks synchronize the activities of the Square among the people, upon the stages, and from the microphones of honored speakers who preside over the event. The reporters and cameramen who supply video feed will move rapidly and efficiently through the crowds, engaging with them in repetitious spurts of gratitude and celebration. The snapshots of the crowds, when viewed remotely, provide the international audiences with the visual representation of their own emotions: smiling, static faces, undulating hands and arms, cameras held high, holiday truisms and well-wishes.

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The fluorescence of New Year’s Eve at Times Square, New York.

The phones in the hands of these representatives feed parallel worlds of messaging and communication systems; there are tens of thousands of smart phones, twitter networks, and Facebook accounts documenting the event from innumerable personal perspectives.

The various elements that create the unique atmosphere of Times Square on New Year’s Eve will change and evolve throughout the progress of the night and its proximity to the sixty-second descent of the Ball at 11:59pm on December 31, 2013.

The only element of permanence in the night, other than the overwhelming joy and hopefulness of a population at the start of a new year, is the backdrop of the city, the enveloping architecture, and the direct flow of communication and advertisement for the multimillion vieweres throughout the world following and celebrating the event from the comfort of their homes.

In the Steps of Gargallo: Figurative Monuments in Metal Sculpture

In the Steps of Gargallo: Figurative Monuments in Metal Sculpture  

By: Al Orensanz, PhD., Director - Angel Orensanz Foundation for the Arts  

Abstract or figurative? This was the disjunction with which all the artists of the time were faced, and even though pictorial modernity in Spain had for some time already been inclined to informalism, sculpture artist Angel Orensanz followed the cautious steps of his admired Pablo Gargallo and Julio González, and those of so many other more recent sculptors that also vacillated between the abstract or figurative.

This was especially true if such artists aspired to dedicate themselves to monumental sculpture, since this type of commission is almost always given by the authorities, who in the Spain of that time were not as open and modern as some more advanced private or corporate patrons.

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Monumento a la Jacetania. Ángel Orensanz. Monumental sculpture. 1969.

It is thus not at all surprising that it was for a private collector, owner of a sculpture park in Bellaterra (Barcelona), that the first totally abstract exempt monument erected by Angel Orensanz emerged in 1969: a menhir of 7 meters in height which he executed in two blocks of stone, working by carving directly into grooves and irregularities, which this time were not reserved only to the upper parts, but also extended throughout the lower parts.

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“Monumenta a la Jota” – Angel Orensanz. Sculpture. 1970. Spain.

In contrast, on September 25, 1970, feast day of the patron saint of the village, Angel ORensanz inaugurated in Albalate del Arzobispo (Teruel) his Monumento a la Jota (Monument to the Jota), in which for a change the abstract geometries remained confined to a tall poured-cement podium.

This serves simultaneously as a backdrop for the ground level statue of a well-built singer of jotas, and as a podium on which are raised those of a pair of young dancers: they are once again hieratic figures —something striking in the representation of joteros, even though the dance of Albalete is known for its grace.   They are formed of geometric planes, like those of the Saragossan monuments to the Mother and to Tío Jorge; but this time Orensanz uses for the first time cut and welded steel plates, marking out planes and hollows in a style derivative of the cubism which was so widespread in the Spain of the transition and the start of democracy, one of whose most tenacious exponents would be the Aragonese José Gonzalvo. This said, the model for this solemn mastery in the evocation of volume based on plates and striking hollows was none other than Pablo Gargallo, Aragonese sculptor well known to Orensanz, since he had dedicated to Gargallo,

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“The Great Prophet.” 1933 (bronze) – Pablo Gargallo. Sculpture.

We can say that Gargallo’s splendid Gran Profeta (Great Prophet) has, as adopted sons, two colossi of imposing beards and manes made by Angel Orensanz for the cities of Jaca and Monzón.   The Monumento a la Jacetania (Monument to the Lands of Jaca), raised in 1969 in the square of Biscós in Jaca, is a gigantic titan 7 meters in height and more than two tons in weight, which represents in concrete and steel a pilgrim of the Road to Santiago. The figure’s facial expression shares the limelight with a model of the cloister of the monastery of San Juan de la Peña carried in an offertory gesture with arms outstretched, also in steel. In the lower part, below an oculum of Romanesque reminiscences, the pillars that evoke his body have on each side of a split which represents the Aragon river crosssing the Jacetania in vertical alignment, four sculptural vignettes decorated with fired-enamel gold paint, in which are paid homage other typical elements of the region.

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“Monumento a la Jacetania.” Sculpture. Angel Orensanz.

These include the Holy Grail of San Juan de la Peña, the Cathedral of Jaca, The Book of La Cadena and musical instruments—and also a modern industry as well as an skier (of which he also made a larger version, with welded iron plates, which has been in the exhibition Los Orensanz de Orensanz).

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“Monumento a Joaquín.” Costa Monzón, Huesca, Spain. Angel Orensanz. Sculpture. 1978.

His Monumento a Joaquín Costa (Monument to Joaquín Costa) in his native city of Monzón is also colossal: in this case the homage to Gargallo’s largest and most well known sculpture is even more evident, since the celebrated deputy raises his arms like a prophet preaching. This imagery is not typical in any picture of Costa, but is very appropriate for the staging of the “Grito del Agua”, when every September 14th social groups of all kinds gather before the monument in homage to the great apostle of regeneration and irrigation. His strange gesticulating figure in plates of enameled steel presides over the Avenue of Lérida from a podium of coffered concrete, before some pillars, also of concrete, which serve as a visual backdrop on the other side of the fountain.

Once again then, a very stage-like composition in two parts, like in the monuments to Tío Jorge and the Jota, although the style here is already very different, much more abstract than figurative, since it is of much later date, for it was inaugurated by the local authorities on September 21, 1978, as is stated on the identifying plaque. This same plaque alludes to the financing of the work by CAMPZAR, a savings entity which a few years later would place works by Ángel Orensanz in front of their Saragossa headquarters.

Lou Reed: the Death of a Poet, Musician, and a Friend.

Lou Reed: the Death of a Poet, Musician, and a Friend.

By: Al Orensanz, Director of the Angel Orensanz Foundation for the Arts

 New York, November 5, 2013.

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The death of Lou Reed hits hard at the Angel Orensanz Foundation. Laurie Anderson and Lou Reed.

Laurie Anderson, wife of the late Lou Reed, has sent us copy of her letter to her husband’s friends, admirers and followers:

What a beautiful fall! Everything is shimmering and golden and all that incredible soft light. Water is surrounding us.

Lou and I have spent a lot of time here in upstate New York for the past few years, and even though we’re city people, this is our spiritual home. Last week, I promised Lou to get him out of the hospital and come home to Springs. And we made it!

Lou Reed

from the letter written by Laurie Anderson, wife of the late Lou Reed.

Lou was a tai chi master and spent his last days here being happy and dazzled by the beauty and power and softness of nature. He died on Sunday morning looking at the trees and doing the famous 21 form of tai chi with just his musician’s hands moving through the air.

Lou was a prince and a fighter and I know his songs of the pain and beauty in the world will fill many people with the incredible joy he felt for life. Long live the beauty that comes down and through and onto all of us.

Laurie Anderson, his loving wife and eternal friend.”

Lou Reed

Lou Reed; 1942-2013.

Lou Reed came often to our building in Lower Manhattan for concerts and literary presentations. We conversed frequently: he was an admirer of the art of Angel Orensanz, and we were devoted admirers of his talent and his charm.

Lou Reed, enjoy your eternal rest. Remember us; we will always be here. 

Banksy Street Art: The End of an Era

The End of an Era: A month of Banksy Street Art in New York

by: Zoe V. SpeasThe Angel Orensanz Foundation for the Arts

Banksy Street Art residence in New York City - from October 27 in Greenpoint.

Banksy street art residence in New York City – from October 27 in Greenpoint.

October has been a busy month in the art world. We had a government shutdown, a Banksy street art residence, and consequent reactions ranging from outrage to a revitalization of  the question of defining art.

It all ties together, really, and that’s what I wanted to talk about before Halloween hits us full-force tonight and it’s November before we know it or remember how it came upon us so quickly.

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The shutdown. Remember when that happened?

(Hey.  Remember when THIS happened?)

The first piece I wrote for the Angel Orensanz Foundation was a discussion about the definition of art, creatively entitled, “What is Art?” I scratched it out in a pitifully banged-up notebook during the long train ride from Richmond, VA to Penn Station, NYC.

I talked about how art is fundamentally dramatic—there are countless full-length theatrical dramas and comedies featuring characters that are artists or connoisseurs of art because of this quality. Whatever definition you assign to art, I believe it must allow for the drama and the conflict that is created by putting brush to canvas, hands to clay, etc. We thrive off of this drama, we need it, and we live for it because it illustrates the constant questions that percolate beneath the surface in us from day to day.

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Tahir Square. Angel Orensanz. Politics in art.

Too bad our society isn’t crafted to allow for the necessity of art.

In fact, we spend a lot of effort and money marginalizing art into something to do with leisure or entertainment. But there’s a difference—a monstrosity of a difference—between leisure/entertainment and art. Leaving the theatre after a production of Harold Pinter’s Betrayal or Shakespeare’s Richard III, I’m certainly not at my leisure. Entertained? More like slapped in the face by humanity.

By the way, those productions I just listed? Totally playing right now in NYC. Check them out. You’re welcome.

So, of course, when the government shut down for the first time in seventeen years, what’s the first thing to be cut from funding?

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Always the first thing to go: shutting down the museums, shutting down the government.

The National Endowment for the Arts. In other words, the museums—the culture hubs, the “non-essentials.”

And in the middle of that conflict, Banksy comes to New York City for a self-curated artist’s residence and stirs the pot for us.

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Banksy street art at Yankee Stadium. October 30, 2013.

Banksy’s street art residency is called “Better Out Than In: an Artist’s Residency on the Streets of New York”, and beneath the stencil-outline header, a quote from Paul Cézanne triumphs the mission statement of the work.

All pictures painted inside, in the studio, will never be as good as those done outside.

I’ll say that perhaps the “outside” to which Cézanne referred might be of a slightly different context than the interpretation apparent in the Banksy street art, but in terms of impact? Banksy’s been spot-on.

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“Better Out Than In” – Bansky street art residence in NYC. October 2013.

All of a sudden art—regardless of how you define it—emerges as a buzzword, a hot topic, the spark that ignites a city of people, young and old, desperate for a cause to impassion them enough to speak out.

It’s impassioned me, anyway.

I’ve spoken to gallery owners, artists, event planners, businessmen, and students about Banksy street art in New York this past month and I encountered no one who had nothing to say, no comment to add. In fact, the topic has served as a jumping-off point to larger issues of politics and society and the boundaries that divide generation from generation.

For myself, I have always been loath to discuss political leanings with friends and acquaintances—the ensuing arguments inevitably evolve into a loop of misunderstanding and personal affront. I prefer to stay within the realm of art and theatre where I feel comfortable arguing my beliefs—and yes, maybe that makes me a coward, being afraid of engaging in a dispute for fear of defeat or humiliation.

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Banksy’s Greenpoint portrait being painted over by a masked woman. Which is the graffiti – the Banksy street art or the silver paint obscuring it?

Graffiti does ruin people’s property and it’s a sign of decay and loss of control,” the mayor said, “Art is art, and nobody’s a bigger supporter of the arts than I am–you running up to somebody’s property or public property and defacing it is not my definition of art. Or it may be art, but it should not be permitted.” 

Mayor Michael Bloomberg, October 2013.

And yet, this October, I found myself spewing fire over the contradictions arising between vandalism and art, between art as a necessity and our unhesitating cessation of its funding when goings get tough, between the opinions of the Mayor of New York and the arts community of his city.

Banksy’s residence brought me to a single, perhaps obvious conclusion:

If I argued before that art is fundamentally dramatic, then it also must be deeply political.

I’m going to risk sounding like a college sophomore writing a term paper and quote the dictionary at you here—a definition of the word political“relating to relationships of power between people in an organization; to affairs of the state or government.”

Relationships of power between people. Yup. Sounds about right.

Art becomes the venue through which people can argue rights of individualism and power upon a level playing field. There are no mayors, governors, nor presidents: only personal expression and paintbrushes. And regardless of what you think of the Banksy street art and its artistic merits, his residence challenges us to question our relationship to one another, to our government, and to the city walls that house and protect us. 

Call it graffiti or call it art.

It was swift, it was dramatic, and it defined the month of October for me and countless other New Yorkers. Happy Holidays, everyone.

Angel Orensanz for Art Palm Beach 2014

The Angel Orensanz Foundation for the Arts and Contemporary Art Gallery Returns to Art Palm Beach 2014

Zoe V. Speas; The Angel Orensanz Foundation for the Arts


The Angel Orensanz Gallery and Museum is pleased to announce its participation in Art Palm Beach, January 23-27, 2014.

Art Palm Beach 2014

Artist Angel Orensanz exhibits permanently at the former “Norfolk Street Synagogue”, home to the Orensanz Museum and Gallery. Orensanz will attend the Art Palm Beach 2014 fair.

The Gallery will present The Collective Unconscious, a series of dramatic new sculptures and paintings by Spanish artist Angel Orensanz. Orensanz has been exhibiting internationally since the 1960s and has a permanent exhibit at the Orensanz Foundation, located inside the former “Norfolk Street Synagogue” in New York City’s Lower East Side.

Burning Bronzes

Art Palm Beach 2014, Angel Orensanz, Burning Bronzes

From the Burning Bronzes episode of the Collective Unconscious series, which Angel Orensanz will present at the Art Palm Beach 2014 fair.

Burning Bronzes, a series of miniature-to-middle scale sculptures, speaks to the artist’s journey from Earth and Land Art into his current medium.

Working with the bronze and stoneware, according to Orensanz, “brings me into closer communion with the earth through my art.”

The sculptures on display will represent a continuation of the artist’s study of the human form and its manipulation, while paying homage to a tradition of indigenous art from around the world.


Bodies - Angel Orensanz - Art Palm Beach 2014

From the ‘Bodies‘ series by Angel Orensanz – an exploration of the human figure continues this winter at Art Palm Beach 2014.

Bodies consists of an incredibly diverse sequence of drawings in charcoal, graphite, ink, and, occasionally, coffee grounds. Angel Orensanz explores human anatomy through a highly vibrant mix of line weight and texture.

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1961. Dinosaurio. Unknown location. Angel Orensanz.

The figures he depicts contort and bend in an expression ranging from agony to ecstasy.

Orensanz began his training in the 1950s at L’Ecole Superieure des Beaux Arts in Paris with in-depth, literal study of the human body. Over the decades, his use of “body” and “form” has become an abstraction and a metaphor for the human condition and for the current project, Collective Unconscious.


The Language of Fire

Language of Fire - Angel Orensanz - Art Palm Beach 2014.

Angel Orensanz presents the Language of Fire as part of the upcoming Collective Unconscious exhibit for Art Palm Beach 2014.

Language of Fire bridges the worlds of painting, sculpture, and photography. Through his use of fire, plastics, and vivid color, Angel Orensanz illustrates the universal language of creativity, which defies boundaries of nationality and race. The artist employs a range of scale and perspective in these living photographs, verging almost into the realm of optical illusion. The images are often reflections and, being taken from the artist’s perspective, the shadow of Angel Orensanz’s figure may often be found within the complex layers of each portrait.

A comprehensive catalog with accompanying essays will be produced for the purpose of the artist’s participation in Art Palm Beach 2014.


For more information on Art Palm Beach 2014:

Media Inquiries: The Angel Orensanz Foundation for the Arts, 212.529.7194.

Fair Hours:  Preview – January 23rd 6:00-7:30pm; Collectors Invitational 7:30-10:00pm; January 24th-27th 12-7pm (6:00pm on the 27th).

Location: Palm Beach County Convention Center, 650 Okeechobee Boulevard, West Palm Beach, Florida 33401

Verbal Communication and the Art of Conversation.

What is verbal communication?

by: Al Orensanz, DirectorThe Angel Orensanz Foundation for the Arts

Angel Orensanz - The Language of Fire - what is verbal communication

From Angel Orensanz’s The Language of Fire – what is verbal communication? It’s the same as the dialogue between an artist and his medium.

What is verbal communication?Conversation exists as a link between diverse minds, characters and perspectives. The immediate participants are the speakers, each equipped with a specific set of languages, registers, labels and linguistic codes.

For verbal communication  to transpire, it requires a gathering of multiple, individual minds.

These include first and foremost the minds of the main participants, but might also include some silent, distant contributors incorporated through references, quotations, pictures, video, digital background and other forms of participation. Such stimuli—TV stories and imageries that burst from the depths of distant memories—can trigger points of conversation simply by association.  That way, the verbal communication and conversation becomes multiple in the sense that interactions occur not only between the interlocutors involved, but between the environment of the room, of the urban landscape, or the countryside, which slips into and colors the content of what is being said and introduced.

There is no such thing as a spontaneous conversation.

Angel Orensanz - What is verbal communication - The Language of Fire

Selection of photo art from Angel Orensanz’s LANGUAGE OF FIRE.

We are not inventing our language as we speak; language pre-exists all our encounters. Our words and sentences were formulated, coined and exchanged long before the moment of communication. In addition, conversation does not occur in a void or in vacuum.

what is verbal communication?

Photo-Exhibit by Angel Orensanz at the Saint Petersburg Academy of the Arts

Every sentence we might think to organize has been uttered and reformulated countless times before for a variety of contexts and goals. Such previous verbal incarnations provides the key to our understanding of statements uttered in any language or in any script, once the morphology has been detected and reconstructed.

Love TEDTalks? So do we. Check out this video about by Steven Pinker: What our Language Habits Reveal – What is verbal communication?

Angel Orensanz - what is verbal communication? - Light Matter

From Angel Orensanz’s LIGHT MATTER. What is verbal communication? An interplay between the participant and his environment, much like Angel Orensanz’s interaction with physical space in his art.

Conversation is always creative and innovative. It determines the pathways of our mind and the formulation of our sentences. It measures the appropriateness of questions and their answers, of statements and the silence of a gesture, of the accents of formulation and the position of the speaker.

The ingenuity of conversation allows us to process several lines of thought coming from multiple different speakers simultaneously. Despite the crowded environment of numerous strains of verbal communication, we are able to register one main line of discourse, towards which the various lateral and collateral observations are ascribed and formulated.

Angel Orensanz - The Language of Fire - What is verbal communication

What is verbal communication? “There is no such thing as a spontaneous conversation.” Angel Orensanz’s The Language of Fire

In a dialogue with multiple participants, it becomes the most clear it is the logos, the verbal communication, the language that first and foremost prevails and manifests itself. In the course of our inevitable departure from the original pathways of conversation, conflicting lines of thought and perception are constantly re-assembled. Therefore, the internal plurality of all truth becomes patent and operative. It becomes truly dialogue.



Durante cientos de años, la ciudad de Pamplona, la capital de Navarra, ha mantenido una fiesta y un ritual.  Se trata de las fiestas San Fermin o los sanfermines.  Ernest Hemingway escribió extensamente de los toros y dio universalidad a la fiesta.  Le dedico textos que hicieron estos festivales mundialmente famosos. Reconoció haber reunido 2.077 libros y folletos en español sobre la materia.

Dibujo - Danza con los Toros de los sanfermines - por Angel Orensanz

Dibujo – Danza con los Toros de los sanfermines – por Angel Orensanz

Angel Orensanz, el escultor español asentado en Nueva York ha compuesto una serie de dibujos de grandes dimensiones de contenido dramático y fuerte basados en esta tradición española. Cubren los muros de su Fundación en Manhattan. Se trata de una exposición de doce piezas sobre esa tradición española multisecular. La exposición estará abierta al público durante tres semanas.

Las varias composiciones que constituyen esta muestra presentan una visión intensa y atrevida que reflejan bien la proximidad entre vida y violencia según se reflejan en estas fiestas de San Fermin en Pamplona. Mientras la exposición está abierta en público en el Bajo Manhattan, los televisores  de todo el mundo muestran imágenes de video de las corridas de Pamplona, a miles de kilómetros de distancia, en España.

En esta exposición, Angel Orensanz no usa un tratamiento fotográfico sino un género mucho más  emotivo y dramático basado en visiones de toros corriendo, calavereas, desenfreno, pasión, miedo y   Espasmo.

Art and Snow – An Installation by Angel Orensanz

While the snow falls on Manhattan. The weather forecast was clear and assertive for the last few days. A blizzard is going to fall over Manhattan this weekend. This Saturday morning Angel Orensanz came to the doors of his Foundation building and started moving out and around with his adjuncts a big, transparent sphere around the park across from the Foundation. Everything happened like a ballet properly staged and paced. Color was added, plants and stems were added by the helpers. The still camera and the video started rolling on Norfolk St. Art and Snow met in New York with  Angel  Orensanz.

Art and Snow - An installation by Angel Orensanz

Art and Snow – An installation by Angel Orensanz

Art and Snow - An installation by Angel Orensanz

Art and Snow – An installation by Angel Orensanz

Angel Orensanz - New York

Angel Orensanz – New York

Angel Orensanz - New York

Angel Orensanz – New York

Angel Orensanz - New York

Angel Orensanz – New York

Angel Orensanz - New York

Angel Orensanz – New York

Art and Snow - An installation by Angel Orensanz

Angel Orensanz – New York

Art and Snow - An installation by Angel Orensanz

Art and Snow – An installation by Angel Orensanz