What Does Art Cost -With Yury Kharchenko

by Carl Kruse

On January 8, 2022 the Deutschlandfunk Kultur hyperlink – radio program invited our artist friend Yury Kharchenko to discuss the cost of art, both from a material and figurative perspective.  The program was hosted by Michael Köhler and translated from German to English by Carl Kruse, who is responsible for any errors or omissions.

What Does Art Cost?


Michael Köhler (00:00)  Today we present the German-Russian painter Yury Kharchenko.  He completed his studies at the Düsseldorf Art Academy in 2008 and since then has been painting large-format oil paintings and has a studio in Berlin, with another in the Ruhr area, in Oberhausen (Germany). After figurative works on personalities such as Borges, Kafka and even Rimbaud, his most recent group of works deals with images of commemorative culture, with characters from the comic world like Scrooge McDuck, Spiderman or American cartoon series, such as characters from the 90’s like Beavis and Butthead. These pose in bright colors, partly decorated with pornography, in front of scenery reminiscent of concentration camps. In addition, Kharchenko has been experimenting with groups of colored Star of David-like wallpaper patterns. These paintings, rich in impertinence, deal with Jewish identity and the endangerment of memory in a shrill spectacle world. In our series “What Does Art Cost?” I first ask the artist quite directly about his costs.

Michael Kohler



Kharchenko (01:06) So normally the costs for the studio are of course material, these are always the running costs and many trips to exhibitions or to visit curators. These are costs apart from the normal cost of living, so that you can function physically as an artist.

Michael Köhler (01:28) What is the artist’s income?

Kharchenko (01:31) Now that’s a question! There are artists who are just starting out and maybe they’ll earn something, I don’t know. 12,000 euros per year? Maybe less. And then there are very different segments of the market. There are artists who earn what do I know, 40,000 a year. And then there are artists who make 100 and more than millions a year. It’s a broad spectrum. But most of them are probably more in the 12 to 20,000 euro per year range.

Michael Köhler (02:04) But unlike some, they don’t have a teaching assignment or curatorial activity on the side, or that they’re at an academy or give courses. So you have ancillary income like that?

Kharchenko (02:17) I have no extra income. I’ve been doing this alone for a long time through art.

Yury Kharchenko

Michael Köhler (02:23) You are a visual artist and studied at the Düsseldorf Academy. It is no secret. You were also in Markus Lüpertz’s class. Now that sounds good, but then you have to get by in life. How do you do that? Basically, you have to sell if you make a living from it.

Kharchenko (02:44) It’s quite normal that after the academy, which was almost 14 years ago for me, you somehow start to get into the art business. In the beginning it is difficult and then over the years the contacts accumulate and the prices rise. And at some point you just make a good living from it. Well, unless you somehow made it through your own work and through the contacts you have.

Michael Köhler (03:17) We made an appointment in Cologne. You are in transit from Berlin via Dortmund. You also have a studio in the Ruhr area. You travel on to a collector. In a preliminary talk, you told me that Corona wasn’t actually such a bad year for you, but perhaps it was not a good year for your collectors. Is that right?

Kharchenko (03:36) No, that’s not quite right. For me personally, Corona was not a bad year. That’s right. But I haven’t noticed that something has changed for the collectors. So maybe they were even more interested and didn’t tell me that they suffered any disadvantages from Corona. So they didn’t feel any change perhaps.

Michael Köhler (04:05) I would like to move on to the figurative meaning in the second part of our conversation, because what costs something has to do not only with the material cost, but with what it is worth to you, what makes it precious. As a painter, as a neo-expressive painter, I would say, you also have sensitive issues. I hear you were born in Moscow in the mid 1980s and you are of Jewish origin. Jewish themes play a big role for you. How much does art cost? Do you stay true to your theme or do you follow the wind? What I mean to say is, is it sometimes difficult to stay true to one’s subject, or has that never been a question for you?

Kharchenko (04:50) It’s a tough question and not that easy to answer. Many say they stay true to their theme. But in the end it’s not so easy to judge, because you’re always in a context. And even if you think you are 100% loyal, you are in a context of society. And one can only say that there are people who completely submit to the market. Then there are people who do contradictory, controversial issues that are more elusive to the market today because the market is more decorative. And there are the people for me who are more true to themselves, who don’t paint decorative pictures, who always paint the same pictures for decades, just to stamp themselves with the market. And of course all of us humans are tied to financial things. But for me, the more I worked on my topics, the more demand there was. And I was lucky that I didn’t bump into the people that collectors came across because of my work.

Kharchenko (06:05) But yes, I also switch from one style to another as is my mood or mind. My current atmosphere, my interests. The collectors follow, so to speak, and find it interesting. What do I do next year without subjecting a certain trend to a style and stamping that for years?

Michael Köhler (06:33) You’re on the road with a big role right now. Your most recent pictures deal with the difficult relationship between the culture of remembrance in Germany. It’s a lot about Jewish issues. It’s also about what I think you call the market for culture of remembrance and commemoration. That means you have found your topic and are staying true to it.

Kharchenko (06:58) That’s not really my 100% issue. Yes, let’s put it this way, if you calculate mathematically, then it’s maybe 25 percent of my work to date. I have this topic about persistence. Because it has something to do with me, with the history of the people, the Jews. And I now feel that I have reached a certain point, that this topic will also gradually be abandoned, because other things are also of interest to me at the moment. For example, the question of hope or the question of the good in humanity. Especially now that we have had so much corona problems, so much destruction in society that I want to move away from these issues like Holocaust processing and so on to the issues of the beauty of the good man. What role does the good in people play? This is also a very interesting topic, which is just beginning to concern me.

Michael Köhler (08:09) Perhaps one last time on the tiresome topic, but you say that you are not trained to do cost control during your studies. Life has to teach you that, so to speak. Has there ever been a moment when you said it’s all too much for me, I’ll abolish my studio or maybe even vice versa, that you say I could imagine founding a third one. Or maybe not a studio at all, but an apartment in Paris or something.

Kharchenko (08:33) Well, at the very beginning, after graduation, of course, every aspiring artist probably has problems when trying to support themselves. And of course there is constant stress with the financial situation. How do I do this? Just like a maybe pubescent teenager who projects life and asks himself is he worth enough to get this and that? And so is an artist. And of course there are the doubts that accompany it. But of course, if you’re stubbornly stubborn about your work for years, then you end up thinking should I get a second or third studio or whatever, or live and work somewhere else. Those were thoughts. I’m more or less focused on two locations and try to work regularly in these two locations.

Michael Köhler (09:33) The visual artist, the painter Yury Kharchenko in our series What does art cost? Some of his paintings are exhibited in German museums and this year there will also be a solo exhibition of his in Niebüll.

END TRANSCRIPT

About Deutschlandfunk Kultur – A part of the public Deutschland Radio family in Germany.  Its main focus is on culture, arts, science and is renown for its plays on air and documentaries. Its home is at the former Radio in American Sector (RIAS) in the Schöneberg section of Berlin (Germany).

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The Carl Kruse Arts Blog homepage is at https://carlkruse.net
Contact: carl AT carlkruse DOT com
Other blog articles on Yury Kharchenko are here and also here, and over here.
Carl Kruse is also active on the TOR literary network.

Upcoming: Adele Schwab Photo Exhibit in Berlin

by Carl Kruse

My friend Adele Schwab has organized a photo exhibit in Berlin on two dates:

19 November 2021 (Friday) from 21.00pm-22:30.

20 November 20 (Saturday) from 17.00-18.30.

Adele Schwab. Photograph from the artist’s website.

Her exhibit is titled, “Seeing the Unseen” an audio visual project that attempts to make air “visible” and investigates the issue of how to capture the unseen. The exhibit explores methods to capture an important yet unseen element, air.

Her work is part of a series on the environment, and was part of the “48 Stunden Neukölln Arts Festival,” which took place this last summer. This is the first time it is shown in a public exhibit.

The interior of the space will be darkened at first, then alit by photos of trees as they turn during the year, sometimes in rain, other times in glaring sunlight. The concept is for the viewer to be immersed in it.

The exhibit takes place at St. Clara Church, which is on Briesestrasse 13, in Berlin, Germany

Much of Schwab’s images show everyday life in a manner that is ultra real. She is captivated by the relationship between nature and people, and by how the environment shapes culture.

Adele Schwab has a BS in Physics from MIT and studied photography at the Ostkreuz School of Photography in Berlin. She currently lives and works in Zurich, Switzerland.

The Carl Kruse Arts Blog invites all of its followers to what should be a special and unique exhibit.

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The Carl Kruse Arts Blog homepage is at https://carlkruse.net
Contact: carl AT carlkruse DOT com
Other blog posts focusing on photography include, Steve McCurry: Vulnerability Made Immortal and Between Introspection and Surrealism – the Photography of Francesca Woodman.
The blog’s last post was on David Bowie’s alter ego Major Tom.
Carl Kruse is also on Clear Voice

Charlotte Salomon, the Painter Killed in Auschwitz between Life and Theater


By Asia Leonardi for the Carl Kruse Arts Blog


Charlotte Salomon, a Berlin Jewish artist, was one of the most original and pioneering female painters of the 1900s. Her work “Life? or Theater? ” condenses her artistic career: some eight hundred compositions that trace her artistic life; an innovative style that we could compare to the contemporary graphic novel in which painting, comics, cinema, and theater come together, transmitting moments of touching historical and personal drama with immediacy and lightness.


Who was Charlotte?

Charlotte was born in Berlin in 1917 to Jewish parents: her father Albert was a surgeon and a university professor and her mother, Franziska Grunwald, was a nurse. Her mother committed suicide by throwing herself out of a window when Charlotte was nine, but the girl was told her mother died of a serious illness. It was also kept silent that this was but the latest in a series of suicides among women of the family.

Carl Kruse Art Blog - Leben oder Theater.  Charlotte Salamon.
From the German, Leben = Life, Oder = Or, Theater = Theater

In 1933, following the newly enacted German racial laws, Charlotte’s maternal grandparents emigrated to Villefranche-sur-Mer, France, but her father,
with his new wife Paula Lindberg and Charlotte, resisted for some time as he was able to practice his profession. In these years, thanks to Paula, a renowned soprano, Charlotte was immersed in the world of music and art, so much so that in 1935 she was accepted being the only one hundred percent Jewish person at the National School of the Academy of Fine Berlin Arts. Here she learned traditional artistic techniques, while at the same time being exposed to modern works of art of the so-called “degenerate art”, which indelibly marks her style.

Over time, her life inevitably became marked by racial discrimination and limitations and on Crystal Night on November 9, 1938, Charlotte left Berlin to join her grandparents in France, while her father and his wife took refuge in Holland.

Carl Kruse Art Blog - Image of Crstal Night in Berlin, Germany
Crystal Night


One night in September 1939 Charlotte prevented the suicide of her grandmother, who had fallen into depression over the ongoing events, and in this circumstance, the painter learned of the long history of family depression. This upset the artist so, it catapulted her into moments of anxiety and despair that led her to see art as a way of salvation. Starting to paint with tireless energy that in what, two years, 1940-1942, would become her great work: “Life? or Theater?”

The bound volumes amount to 800 and when added to the preparatory drawings and sketches become more than 1300. This work of art can be defined as total and coinciding with the very life of the artist who narrates her exile in France, her daily life including her first love, in a setting that can be defined as a proto-graphic novel. The episodes are divided into acts as in a Singspiel (Austrian-German musical theatrical genre) and give life to a musical novel of exuberant expressive power, in which each table makes its own story and at the same time asks for a layered and linked reading.

Carl Kruse Art Blog - Charlotte Salomon and her grandparents
Charlotte Salomon With Her Grandparents

A series of tempera with sinuous captions, rhythmic, onomatopoeic, and torrential words, which create a dual game between sound and color, sucking the viewer and dragging him into a world in which space and time blend and alternate. The expressionist lexicon is bubbly, detailed, and with rich and warm colors that recall Matisse, details of the oneiric dimension that recall Chagall, scenes of strong exasperation typical of Munch’s painting.

Charlotte outlines each event with a typical feminine delicacy, in which the language, absolutely unprecedented at the time, varies according to the subject treated. The continuous stylistic metamorphosis is testified by hundreds of sheets that directly or metaphorically touch the salient experiences of the painter’s affective and cultural training: photography, crippled negative, still image, deformed illustration.

Now I am a document, now irony, now oneiric metaphysics, now philosophical poetry.

Carl Kruse Art Blog - Gouache

The staged memory is not immediate, it is the obscene private and public of the twentieth century treated and elaborated in words, images, and music, with characters, dialogues, fractures, changes of perspectives, temporal and spatial changes: a work that hybridizes codes and different languages.

Charlotte narrates the tangle between her personal story and the collective story and in both flows dramatic plots develop, creating a perfect symmetry between the catastrophic series of external circumstances and the inner tragedies of her personal life, improving a compositional tendency that tells events through trauma: pain is processed and not removed.

An alternation of real-life and Shakespearean staging, in which Charlotte recomposes the inner rupture given by the inexorable presence of death in her family history and at the same time in European history. Through the presence of Charlotte with her grandparents Gouache infinitely replicated masks or varied in shape, she can break the fatal chain of suicides, putting the whole of
history in the picture:

When the measure of life is full, it is necessary to start again from the theater.”

Carl Kruse Art Blog - Charlotte Salomon - Stolperstein
The “Stolperstein” for Charlotte Salomon on Wielandstr 15 in Berlin – Charlottenburg, Germany. Stolperstein – meaning “stumbling block” — are placed on the ground in front of the former homes in Germany of people killed by the Nazi regime. The Stolpersteine project was conceived by artist Gunter Denmig.

Time passes, but the terrifying wind of racial persecution blows over Europe. In 1943 she was forced to hand over all her works to a friend, and in September she married Alexander Nagler, also a German refugee. But soon the couple is jailed. After her incarceration, news about her life becomes fragmented. She died at 26, a few months pregnant, after reaching Auschwitz, perhaps on the day of her arrival following the terrible train ride to the concentration camp.

The painter was forgotten for a long time, perhaps for being too avant-garde, until Willem Sandberg organized a first retrospective exhibition at the Stedelijk in Amsterdam, followed by important international milestones, and not least the choice of Carolyn Christov-Bakargiev who included her in 2012 in the Documenta exhibition in Kassel saying, as Joel Cahen (director of the Jewish Historical Museum in Amsterdam) remembers, it was “her definitive entry into the world of modern art.”


Charlotte Salomon’s work, on the other hand, finds an Italian look for the first time with the publication and full translation of her “Vita? O Teatro?”, the illustrated volume with slipcase published by Castelvecchi Editore, which today remains an artistic and literary monument, almost a total work of art of a shocking force, a work that is intensely connected to today’s world, to the modalities of communication and relationships, based on images, sounds, and intuitive messages.

Perhaps the greatest book of the twentieth century.
As a work of visual art, it is a triumph. As a novel, it is a triumph.

– Jonathan Safram Foer

Carl Kruse Art Blog - Charlotte Salomon - Self Portrait

Charlotte Salomon – Self Portrait

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Carl Kruse Art Blog Homepage: https://carlkruse.net

Other writings by Asia Leonardi on Andrea Liguori, Francesca Woodman, Steve McCurry and Escher.

The blog’s last post focused on the Van Gogh’s “Chair.”

Contact: carl AT carlkruse DOT com
And old Carl Kruse blog is here.

Andrea Liguori, a Wonderful Mind in Berlin


by Asia Leonardi for the Carl Kruse Arts Blog


Into the urban traffic of Berlin so many people are walking, with them come ideas from all over the world, sometimes changing the surrounding environment. This is the case of Andrea Liguori, an architect from Palermo who has now lived in Berlin for many years. I had a pleasant chat with Andrea, where he told me about his work, his love for architecture and painting.


What brought you to Berlin, Andrea?


“What brought me to Berlin? A girl; sometimes happens that love takes you around the world … sometimes you move for work, other times because you meet someone who moves something inside you. What I always point out is that it’s not so important how you got there but why you stayed there. In my case the reasons for staying were mainly the business aspect, Berlin is a beautiful reality, there is room for all: but also so much competition, and you have to
live with this. for an architect like me there is so much to do, and many possible niches… Here the field of architecture is very interesting because new construction sites are always opening, and Berlin has also an important role in the history of architecture, it was one of the headquarter’s of the Bauhaus.”

Carl Kruse Blog - Andrea Liguori - Wood House




Woodhouse by Andrea Liguori

How did you start your career?


“My very first experience was working in a studio in Palermo with two partners, an experience that I abandoned once I moved. Here I started working in the studio of an architect who spoke Italian, and it was useful for me to start learning German. Gradually I got to know the local reality, I built new acquaintances, and I started being able to do some more personal projects. Today I am a consultant for a studio, with which I design new buildings, such as hotels and apartments … but I also have my studio, where I take care of my projects, which mostly concern bars, restaurants, or small villas.”

And how do you divide yourself between the two activities?


“Since I am an external consultant, I can manage my time based on the importance of the projects I have. I work a lot, I often stay up late, I work on weekends, but all in all, when you find something you like it’s a hobby, and you feel like you never work. I’m not saying it’s exactly like that, because sometimes the tiredness is real, but I enjoy it. I never get bored because I like to differentiate. I’m also into furniture design. Me and a friend of mine have a company in Palermo, we design lamps, objects, we have also worked as
designers for Italian firms. In short, I have a holistic approach, I deal with a bit of everything that has to do with the world of drawing, design, architecture.”

Carl Kruse Blog - Andrea Liguori - Hotel in Georgia

Andrea Liguori – Hotel in Georgia

How do your ideas arise, and how do you put them into practice?


”With architecture, there is a study of reference manuals, while the creative process in design is more important and lighter. It comes from the experience as an individual when you go to a place or buy an object, you look at it, you
are interested, you think about possible changes …but the best ideas always
come in moments of leisure, of freedom, as the theory of creative idleness explains: when you are relaxed, maybe take a shower, an interesting idea comes to your mind more easily.”

How did you experience the lockdown? Was it a
period of greater creativity?


“When we are busy with everyday commitments there are many bureaucratic issues to complete, emails to write, accountants, lawyers, appointments to deal with. During the lockdown, all of this has slowed down a bit, I felt less pressure, and thus creativity increased. I have never been bored, thanks to my other passion that is painting… I paint with watercolors. Three or four years ago I also held a watercolor paintings exhibition in Palermo inspired by places in my city, and I keep painting to this day. I feel a little homesick now and then, but it relaxes me, I like the subject, and I continue to paint.”

Carl Kruse Art Blog - Foro Italico

Foro Italico in Palermo. Watercolor by Andrea Liguori

Was there a project that had left a mark on you, or that you particularly enjoyed doing?


“There is no more important project than others, everyone has their importance. Projects are a bit like children for an architect. I like traveling a lot, and I try to do projects all over the world, and those have a special flavor to me, even if it’s a smaller project. For example, at the moment I am working on the project of a large hotel here in Germany but I enjoyed doing a very small boutique in Miami, Florida last year because it was an opportunity to
discover a new world, a fun place … They are all projects born thanks to public relations, it is important in my opinion to convey your passion to others, you manage to involve them, and they call you and ask you for advice. Social networks also have their weight, with Instagram I share things that maybe don’t have much to do with my work but that give the idea of my vision of the world, of what I like to do, and maybe if there is someone who knows me
and sees himself in my posts he looks for me, calls me and the affinity is
born.”

Andrea is a fascinating man, with a firm and confident gaze; he knows what he wants and he knows how to get it. His university love continues to blossom day by day: he lives with his partner in his Berlin apartment. What struck me most about Andrea is the dedication and commitment he puts into his work, his delicacy in the choice of words, which reveals a brilliant creative intuition, typical of a successful architect. Transforming an idea into something real is what I admire most about architecture, and about art in general: Berlin’s urban planning is varied, always open to new construction sites, always new, always changing, ready to welcome those who, like Andrea, dare to put their personality into this wonderful city.

Carl Kruse Blog - Andrea Liguori - President of Italy

Andrea Liguori with Italian President Sergio Mattarella


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Homepage: Carl Kruse Art Blog
Contact: carl AT carlkruse DOT com
Other posts by Asia Leonardi are here, here and here.

Berlin related posts on the blog include the Boros Bunker art gallery and coverage of Berlin artist Yury Kharcehnko.
Carl Kruse is active in Berlin with the Ivy Circle.

Yury Kharchenko – Upcoming Hamburg and Berlin Exhibits

by Carl Kruse


It has been a busy season for my artist friend Yury Kharchenko with the completion of several new works, the latest being a series that is generating controversy though the artworks have yet to be publicly exhibited.  In these latest works, Kharchenko depicts comic and pop culture icons at the entrance to Auschwitz, with the unmistakable towers of death juxtaposed in the background, creating conflict and tension by bringing two worlds together that never should have met.  The works include Scrooge McDuck Protects his Money in Front of Auschwitz and a series titled Waiting For A Super Hero, all raising the question why didn’t a Superman or a Batman or any Disney hero save the Jews? The super heroes always saved everyone but why not now?  One of Kharchenko’s main preoccupations is whether what happened before — the horror of the Holocaust — could ever happen again.

Carl Kruse At Blog - Scrooge McDuck
Scrooge McDuck Protects His Money In Front of Auschwitz

Carl Kruse Art Blog - Waiting for a Super hero - Yury Kharchenko
Waiting For A Super Hero (In front of Auschwitz)

Meanwhile, a work by Kharchenko, “House of Hope, Number 2 (oil on canvas 2019), formerly of the Paul J. Schupf collection, has been donated to the Colby College Museum of Art as part of the last will of Mr. Schupf who passed away December 4, 2019.  Besides Kharchenko’s work, Schupf was one of the largest collectors of Francis Bacon, Alex Katz and Richard Serra, works that will now be featured at the Colby College Museum of Art.  For more information on the museum visit:  https://www.colby.edu/museum/

Yury was also featured in a New York Times article (https://www.nytimes.com/2019/11/08/world/europe/germany-identity.html ) on the topic of  Jewish/German identity in Germany – a prominent thread that runs through his art — where he defiantly says he is a German Jew in spite of, or maybe because of, the armed guards in front of his son’s school in Berlin.

In the latest news, Yury will participate in the upcoming “Heart: 100 Artists. 1 Mission” project at the Hamburger Kunsthalle (one of the largest art museums in Germany) that runs from October 20 through November 8, 2020.  The exhibition then re-launches at the Berlinische Galerie from November 18 through 26, 2020.

The “Heart, 100 Artists. 1 Mission” seeks to raise money for the United Nations High Commissioner for Refugees  (UNHCR) and to help projects that aid refugees in Germany.  In a government-approved lottery, the project will sell tickets for Forty Euros a piece with the money from the first 25,000 tickets handed over to the UNHCR.  Each ticket gives the participant the opportunity to get an artwork from the exhibition, all of which have been donated by the 100 participating artists, including Yury.   The list of artists is available at https://www.hamburger-kunsthalle.de/en/heart-100-artist-1-mission

The exhibition is organized by the U.N. Refugee Aid – Germany in an effort to strongly express solidarity and support to the many millions of people fleeing their homes due to conflict and poverty.  Since its beginning in Bonn, Germany in 1980, this organization has worked to ameliorate the living situation for refugees and to help them fully integrate in new host countries.

Learn more about Yury’s art at https://yury-kharchenko.com

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Carl Kruse Art Home Page

Latest blog post on the art of Francesca Woodman.

Contact: carl AT carlkruse DOT org

At Play With National Geographic’s YOUR SHOT

YOUR SHOT On National Geographic

by Carl Kruse

UPDATE:  7 November 2019:

As of 31 October 2019, National Geographic has sadly closed the YOUR SHOT section of its site.   This post remains for historical reasons.  There are fortunately many other sites online to share images. We recommend FSTOPPERS and 500px.  Both sites have high quality contributors and good editors.  We give perhaps the nod to Fstoppers, which also has excellent tutorials, articles, reviews and top notch community discussion rooms.  That is where I am active.   If  you check out the site, stop by and say hello.  You can find me at Carl Kruse on Fstoppers.  Keep doing good art and being kind to each other.

Carl Kruse

ORIGINAL POST:

Among the many sites to share images online — Instagram, 500px, Pinterest, Fstoppers, Snapchat – one of the best is National Geographic’s “Your Shot,” a place where amateurs and professionals gather. A feast for the eyes and often, soul.

Some of what happens on “Your Shot” finds its way to the fabled pages of National Geographic, making YOUR SHOT a catapult for aspiring artists vying for the attention of a larger stage.

Of special interest is the “Daily Dozen” where magazine editors select their 12 favorite images from the thousands uploaded daily. Most of these are  fantastic voyages in of themselves, a respite from the travails of daily life. Much goodness there.

For fun I’ve taken to posting some of my own iPhone images to strut  along the Canon 5D and Nikon 4DS images of the world-class. While superior cameras make it easier to create beautiful images, it is ultimately technique and the artistic eye that make way for magic on YOUR SHOT, so even those with lowly smartphones have a chance to run for the money.

Examples of iphone photos I have posted on “Your Shot” include:

Carl Kruse NYE Miami

Street Art Berlin, Germany

carl kruse meki image

More Street Art in Berlin, Germany

Others include:

http://yourshot.nationalgeographic.com/photos/10142571/

http://yourshot.nationalgeographic.com/photos/9974413/

http://yourshot.nationalgeographic.com/photos/10001003/

(All photos copyright:  Carl Kruse).

Surely, you can do as well, probably better.

Photographers retain full copyright of their photos, so all cool for those worried the big bad magazine will abscond with your work.  By the way, all images on this site are (natch) copyright Carl Kruse.

Check out what’s happening, and if you do, say hello.

On YOUR SHOT I’m at

http://yourshot.nationalgeographic.com/profile/1247970/

My National Geographic profile is

https://membercenter.nationalgeographic.com/108927222984/

Keep doing goodness.

Carl Kruse

Reach out to me by email:      info AT carlkruse DOT net.

P.S. For another wonderful photographer, check out my earlier post on Jack Delano:  Carl Kruse Talks About Jack Delano.

Vicky surveys photography for the blog.

P.P.S.  For my other blog check out the Carl Kruse Blog.

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Carl Kruse – The Boros Bunker

The Boros Bunker in Berlin
By Carl Kruse

What to do with an abandoned, six-story tall World War II bunker in Berlin? If you’re Christian Boros, build a 10,000 square-foot penthouse atop, fill lower levels with eclectic post-1990 art and open to the public.

Pock-marked walls show battle damage from warSide view of the Boros Bunker with war damage.  Photo:  Carl Kruse

The Boros Bunker, originally designed by Albert Speer in 1942 as an air raid shelter for top-level Nazis, metamorphosed into a banana storage during the Communist era, then into a rave hotspot in the 1990’s before finding itself in the hands of Christian and Karen Boros.

A five-year renovation by Berlin’s Realarchitektur resulted in its present-day glory, receiving the Beton Architectural Prize for 2008.

Boros BunkerNight descends on the Boros Bunker.  Photo:  Carl Kruse

A historical structure, home, and private art collection all in one, the bunker is a fantastic testament to what we can do if we want to do it. The artists in the collection include Olafur Eliasson (a favorite of Christian and Karen), Damien Hirst, Elizabeth Payton, Anselm Reyle, Wolfgang Tillmans, and Tobias Rehberger.   This is not a museum but a private vision, the personal adventure of two people who love art and gathered what they thought worth gathering.  And as they went collecting, they imagined living with all of it (or at least on top of it), which led them to the bunker.

Kruse - Boros ExhibitionExhibit within the Boros Bunker.  Photo:  Carl Kruse

This place is worth a visit when in Berlin.  Its collection might leave you wondering what is Art, and why some works are here. Christian Boros perhaps wonders himself as he says that he deliberately buys art that he does not understand.  Whatever your impression it is a magnificent project, an adventure, one heck of a wild exploration.

Christian Boros says he deliberately collects art he does not understand, like a series of tires suspended from the ceiling.  Photo:  Carl Kruse in Berlin.

Boros Bunker: Reinhardstr 20, Berlin – Mitte

Carl Kruse

Contact Carl Kruse:   info AT carlkruse.net

Further links:
BOROS Bunker ( Kruse )
Video of Boros penthouse ( Carl Kruse link) 

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