2012 art works 2012 Exhibitions IN ENGLISH previous works by the same artist Promoting your Art Videos Visual Jazz

It´s just a good idea

This is going to be short and to the point.

Buying art is a good idea.

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If you look it at it from the point of view of sheer gratification, few things that you will buy for your house at a reasonable price will give you more enjoyment and for such a long time.

What are the chances that your sofa will increase in price over time? (Yes, I mean after use).sofa.jpg

Not many? How about close to none?

What are the chances that a painting you bought for anywhere between $500 and $5000 will increase in price over time?

Well, you don´t have the best odds but it can and it does happen. Anywhere higher than $4,000 and your odds get better, and those you purchase at prices that go anywhere from $5,000 to $15,000 have probably very good odds of maintaining and increasing prices.

So, if you have a keen eye and good luck, your purchased art work may double, triple, or multiply its original price many times over.


Now, it is important that you keep it, remember where it is, and pass it over to the next generations. Otherwise what could happen to you is what happened to the unknown original owner of the painting “Preparation for Egypt” (which is thought was painted somewhere between 1605 and 1620). A German student in Berlin was looking for an old sofa for her appartment and decided to buy a pullout couch at a flea market. When she opened it, the painting was inside. It went on to be purchased by an anonymous bidder at auction in Hamburg for a price of $27,630, making the student about 100 times what she originally paid for the couch. So the lesson is to keep your art close, protected, in your will so you can pass it on to others, and definitely, do not hide it in a sofa (no matter how much you like the sofa).

If you are a betting person, always spend a little more (with good and knowledgeable advice is always better) as price in art relates to how the market views the artist (obviously, a higher price acts as an initial validation of the art work). But this is not a must.

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LITTLE TUNES 21 (2012) by Ignacio Alperin

You can find great deals amongst emerging as well as established artists. In my case, I make the point of always of having paintings available below $5,000 (sometimes as low as $1,500 or even less for small pieces), as my interest is that my art get to as many hands as possible. I love having someone buying something for $1,000, and then seeing that person 6 months later with a smile on his or her face because not only they love their painting, but they know they have already made a profit on it as well.

They are my best marketing people. I love the fact that they like my art, and I love seeing them talk about how much they enjoy a particular painting. And I am not alone in this pricing strategy. A great number of artists share this attitude towards the market.

So, if you are looking for enjoyment, originality, a smart and lasting gift for yourself and for the people you love and esteem, as well as a chance at making a handsome profit just for having a keen eye, you cannot do much better than buying art.

And as long as we are talking about smart things to do, I recommend you listen to this album. It is just another good idea.

See you soon.


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©2016 by Ignacio Alperin Bruvera


EN ESPAÑOL previous works by the same artist Promoting your Art Videos Visual Jazz


No way to run detail2Ganador de 9 Grammy Awards y considerado una de los músicos más influyentes del Siglo XX, Miles Dewey Davis III (más conocido como Miles Davis, o simplemente “Miles”) continúa aún hoy, décadas después de su muerte, ejerciendo su influencia en ámbitos propios y ajenos.

Desde médicos investigadores de la Universidad John Hopkins, a diseñadores de la D-School de la Universidad de Stanford, la música de Davis, y su trabajo en cuartetos y quintetos basados en una alta dosis de brillante inspiración y, por sobre todas las cosas, de perfecta improvisación, genera estudios y teorías sobre las neurociencias y su aplicación en áreas creativas.

Como artista plástico, la música de Miles me ha acompañado desde los 12 años, edad en 1236305_10151883675027941_1673098507_nque descubrí sus dotes casi “mágicos”. Durante muchos años ignoraba que una parte de mis dones creativos se debían a una sinestesia aplicada a mi obra. Mi ignorancia temporal, igualmente marcada por una certeza creativa, le dieron entonces al Jazz, y particularmente a Davis y sus contemporáneos como Evans, Coltrane, Monk, Hawkins, Jamal, Brubeck, Basie, Roach, y Clark (solo por nombrar a algunos) una faceta inspiradora y un poder milagroso sobre mi arte.

Sobre los hombros de estos genios musicales yo sentía que mis propias creaciones se alzaban hacia alturas insospechadas. Con el tiempo supe que mi interpretación sinestésica le daba una explicación más “terrenal” a mi característico uso pictórico de movimientos, ritmos, cadencias, y explosiones tonales. Pero el tiempo también me dio la razón sobre el aspecto inspirador de la música de Davis y su influencia sobre quienes la escuchamos con amor y admiración.

Hoy en día el ojo de las ciencias está puesto sobre las creaciones de estos genios de la música que lograron utilizar sus poderes y procesos creativos de una manera poco vista hasta entonces. Su obra nos enseña, tal vez particularmente hoy en día que estamos finalmente comprendiendo el funcionamiento de nuestros cerebros de manera más concreta, que nuestras capacidades pueden ser entrenadas para improvisar grupalmente, para trabajar en equipo de manera ordenada, fluida, y natural. Y esos procesos pueden tener, a la vez, la intimidad sensorial así como la explosión grupal de un tema de Davis.

Mi obra hoy sigue volando sobre las alas de estos genios creativos. Mi “Visual Jazz”, como lo bautizara una periodista norteamericana, sigue plasmando sobre lienzos, maderas, objetos y estructuras las cadencias y los ritmos de un estilo de Jazz que me continúa guiando y exigiendo, y por ello agradezco cada día. Un Jazz que, a la vez, ha pasado a convertirse en uno de los legados culturales más importantes que nos ha dejado el Siglo XX.

Y sobre todo, sigo agradeciendo al único y genial Miles, por haberse atrevido a mostrarnos el camino desde siempre.

Hasta la próxima!



©2015/2016 por Ignacio Alperin Bruvera (Publicado anteriormente en el Blog bajo )

2014 Art works 2015 art works 2015 Exhibitions 2016 art works IN ENGLISH Visual Jazz

That other day


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THAT OTHER DAY (2014) – Detail –

This is something like the “B side” of my previous article on this same blog (THAT DAY: and which is set to the music of Kind of Blue .

Blue in Green” is the third tune on Miles Davis’ 1959 album, Kind of Blue. One of two ballads on the LP. (the other being “Flamenco Sketches“).

As an aside here (and something that may earn you points in one of those “did you know?” kind of games), it has been said that the second ballad which appears on the record as “Flamenco Sketches” is in fact the song “All Blues” and vice versa. Yes, the argument is that somebody may have switched them by mistake and that they only realized it when the records were already printed and so were the covers, and as a result one simply became the other.

At the very least this is what Jeremy Yudkin argues (also as an aside point) in his scholarly article Miles Davis Kind of Blue, which you can read on the Oxford University Press Music Quarterly Journal. He correctly points out that “Flamenco Sketches” fits more logically with the strumming mid-tempo of the song which appears as “All Blues”, while the title “All Blues” fits much better with the last, very slow song that is known as “Flamenco Sketches” (If you ask me, the easiest thing would be to simply check the original copyright registry of both scores…but no one is asking me…I know).

In any case, the spirit behind “That other day” is a little bit more complex, and less romantic, than “That Day”.PhotoFunia TV interference Regular 2014-08-03 02 35 54

One of the most beautiful songs in that masterpiece album is “Blue in Green“, with its mainly modal melody. Recorded on March 2nd, 1959, in New York City, and in the same session where “So what” – another classic – was also recorded, it was the result of combining the talents of some of the best musicians of its time: Julian “Cannonball” Adderley, Miles Davis, Jimmy Cobb, Bill Evans on piano, and Paul Chambers on bass.

Even though the song appeared in the original record as written by Davis, it has long been speculated that pianist Bill Evans had, at the very least, a hand in it (the credits for the Evan´s trio Album “Portrait in Jazz”, in which there is a version of “Blue in Green”, attribute the song to ´Davis-Evans´)

Some go as far as to say that Evans actually wrote it. This is the case of producer Earl Zindar, whom in the Fall 1993 issue of a magazine called Letter from Evans , said that he knew perfectly well that Evans had actually penned it himself. He said “I know that it is [100-percent Bill (Evan)’s] because he wrote it over at my pad where I was staying in East Harlem, 5th floor walkup, and he stayed until 3 o’clock in the morning playing these six bars over and over.

evanswriting.jpgOn the opposite side of the street we find Miles Davis asserting, in his autobiography, that he alone composed all the songs on Kind of Blue. Confirming this is the writer and poet Quincy Troupe, co-author of one of the best know Davis biographies -, who said in an interview and in regards to this issue:

Miles talked about being back in Arkansas, and he was walking home from church. And the people in the backwoods were playing these really bad, really great gospels. He couldn’t see the people but he heard these gospels coming in through the trees and over the trees. And it was dark and he was about six years old, and he was walking with his cousin. So he said that gospel, and that music, and also he had been listening to the music from the Guinean Ballet, the finger piano, so all of that fused and came back to him with this feeling that he heard playing when he was walking through the back roads of Arkansas.

And he started remembering what that music sounded like and felt like. He said that feeling was what I was trying to get close to in Kind of Blue. That feeling had got in my creative blood, my imagination, and I had forgotten it was there. I wrote these blues to try to get back to that feeling I had when I was six years old, walking with my cousin down that dark, Arkansas road.”

The end result is that, sadly, we will never know the whole truth. Over the last 20 years the song appears mostly now as a “Davis-Evans” composition. It is sometimes difficult to know what goes on in the mind of brilliantly creative people to get stuck, at one point, over something like this and never settle the issue. I guess, it is that exception that everyone talks about when reaffirming a certain opposite rule.

The issue became so heated between both musicians that Zindar himself, in another interview conducted by Win Hinkle, recalled the 1978 Evans NPR interview in which he asserts his authorship of the song, and recalls –with certain humor and disdain – writing to Miles with the suggestion that he should be entitled to a percentage of royalties, to which Miles apparently responded with an envelope that had a check for twenty-five dollars in it.

I am no musician, but I can distinctly see Evans hand in this. Miles was also a wizard, so doubts persist. I guess the best way to go about it is to just enjoy their brilliance and accept that for once, these two geniuses showed their flaws and pettiness for all of us to see. An exceptional blemish for two men who had dazzling musical careers that no one can refute or argue with.

Here is my pictorial version of “That Other Day”. That nonetheless beautiful day – the music still moves us the same way it did before – but it is also the day in which these two egos collided. More complex than the original painting, but maintaining its spirit and stressing the superposed opinions of Bill and Miles.

I hope you enjoy it.

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THAT OTHER DAY (2014) by Ignacio Alperin


Until next time.



©2016 by Ignacio Alperin Bruvera