To find out more information about the artist, please click here .

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The family Passifloraceae is found world wide, excluding Europe and Antarctica. There are nine species of Passion Flower found in the USA. They can be found from Ohio to the north, as far west as California and south to the Florida Keys.

Combining symbolic imagery with beautifully observed drawings from nature, Carol Buchanan's images are seductive and mysterious, full of sumptious detail and decorative touches. The bold and dynamic technique of cutting wood gives the prints a sense of strength and honesty. 

For German translation, from FreeTranslation.com, continue:

The contact details for the artist can be found here: Carol Buchanan.

Art2Bank is not the artist's agent: We are happy to pass on any dealer enquiries to her. Please use our suggestions form for this.

Carol Buchanan trained under widely acclaimed South African printmaker Phillipa Hobbs. Her work has exhibited and sold widely throughout South Africa and Great Britain. Carol's early prints were inspired by the unique energy found in Africa, where she lived until moving to Britain in the 1980's. Her style has since developed, incorporating other influences, including her love of English heritage.  She also sells her hand-painted jewellery and homeware from her online shop which can be viewed at sweet cherry pie   .

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Motivaties om in Kunst Te Investeren: Diversificatie: Een investering in kunst kan een doeltreffend werktuig zijn om de risicoblootstelling van een voorzichtig gepland investeringsportfolio te verminderen. Dit zou een ideale maat zijn om tijdens een periode van marktveranderlijkheid tewerk te stellen. De voorwaarde hier, is top-kwaliteitskunst en een langetermijnoverzicht van 10 jaren of meer. Onderzoek steunt de bekwaamheid van kwaliteitskunst om economische achteruitgang, de waarde van het eigendom te overleven te nooit beneden tot nul, vergeleken tot vele andere investeringen gaan. Kunstprijzen zijn consequent getoond meer vlug na botsingen terug te krijgen dan actieve vermogens.

Bijgevolg getoond kunstmarktprijzen de S&P500 en conservatiever investeringen in het langetermijn overtroffen te hebben (de uitgebreide onderzoek van schilderijen van Mei/Mozes verkocht aan veiling over een 50 jaarperiode vergeleek naar V.S. aandelenmarktprijzen- opmerk dat beide activaklassen ex transactiekosten waren).

Economische vertraging: Tijdens deze periodeinvesteerders begin naar alternatieve investeringen, zoals kunst te draaien, wanneer actieve vermogens en eigendom helemaal gewaardeerd schijnt.  

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As motivações Investir na Arte: A diversificação: Um investimento na arte pode ser uma ferramenta eficiente reduzir a exposição de risco de uma pasta de investimento cuidadosamente planejada. Isto seria uma medida ideal empregar durante um período de volatilidade de mercado. O requisito aqui, está a arte de superior-qualidade e uma vista a longo prazo de 10 anos ou mais. A pesquisa apoia a capacidade da arte de qualidade sobreviver downturn econômico, o valor do segurar nunca descendo a zero, comparou com muitos outros investimentos. Os preços de arte coerentemente foram mostrados recuperar mais rapidamente depois de choques que eqüidades.
 

Portanto, preços de mercado de arte foram mostrados executaram melhor que o S&P500 e investimentos mais conservadores no a longo prazo (Mei/Moisés' pesquisa extensa de pinturas vendeu em leiloar sobre um 50 período de ano comparou com EUA armazena preços de mercado- anota que ambos classes de ativo eram ex custos de transação).

Greve de trabalho lento econômica: Durante estes investidores de períodos comece a virar a investimentos alternativos, tal como a arte, quando eqüidades e propriedade parecem plenamente estimadas.

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Разнообразие: инвестиции в искусстве могут быть эффективным инструментом, чтобы уменьшить подвергание риска тщательно запланированного инвестиционного портфеля. Это было бы идеальной мерой, чтобы использовать в течение периода изменчивости рынка. Предпосылка здесь, является искусством высшего качества и долгосрочным представлением 10 лет или больше. Исследование поддерживает способность качественного искусства пережить экономический спад, ценность холдинга, никогда не снижающегося до ноля, по сравнению с многими другими инвестициями. Художественные цены последовательно показали, чтобы оправиться более быстро после аварий чем обыкновенные акции.

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Forandring : En investering i kunst kan være et effektivt redskap til å redusere risikoen utsettingen av en forsiktig planlegget investeringsmappe. Dette ville være et ideelt mål til å ansette i løpet av en periode av markedflyktighet. Forutsetningen her, er øverst-kvalitetskunst og en langsiktig sikt av 10 år eller mer. Forskning støtter evnen av kvalitetskunst til å overleve økonomisk nedgang, bli verdien av å holde aldri husket til null, sammenliknede med mange andre investeringer. Kunstpriser ha konsekvent blitt vist til å seg utvinne mer kvikt etter krasj enn rettferdighet.  

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Scoprire gli Artisti Emergenti La migliore probabilitá di identificando il prossimo Damien Hirst è tenendo al corrente delle gallerie che hanno promosso e ha nutrito gli artisti emergenti; come Saatchi, il Cubo Bianco (sinistro), come pure visitando le Fiere di Arte Contemporanei ed i Musei. Gli artisti di Sourcing il pioneering responsabile delle nuove tendenze possono ricompensare estremamente finanziariamente. Per esempio quelli che ha identificato cinese contemporaneo come la più nuova tendenza sono attualmente ricompensate per la loro preveggenza. Un potrebbe dedurre da queste quella fotografia e dalla fotografia cinesi contemporanee potrebbe avere in generale il buono potenziale di investimento, come questo mercato appare offrire il valore.

Un investimento per tutte le stagioni ...Current l'instabilità di mercato evidenzia il bisogno per considerare gli investimenti che sono stati mostrati produrre dei ritorni sani e trattengono il loro valore sopra il a lungo termine, ispira l'originale ha pensato, il problema di aumento risolve, la sicurezza di sé di incremento, incoraggia il networking sociale e migliora l'attendibilità di operaio, stimolando così la produttività e la fiducia economica. Il mercato di arte è diventato l'accesso di consentire relativamente trasparente ai prezzi di asta, la costruzione di indici e più informazioni accessibili. L'arte è arrivata come una nuova classe di bene. Il mercato di arte è diventato internazionale, i suoi benefici al nostro patrimonio collettivo sono potenzialmente inestimabili e pervade il globo.

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Una inversión para todas temporadas ...Current la inestabilidad que de mercadotecnia destaca la necesidad de considerar las inversiones que han sido mostradas para rendir los regresos sanos y retener su valor sobre el a largo plazo, inspira la original pensó, el problema del aumento que resuelve, confianza en sí mismo de empujo, favorece social hacer contactos y mejora la certeza de trabajador, así estimulando productividad y confianza económica. El mercado de la arte ha llegado a ser permitir relativamente transparente que acceso para subastar los precios, la construcción de índices e información más accesible. El arte ha llegado como una nueva clase de activos. El mercado de la arte ha llegado a ser internacional, sus beneficios a nuestra herencia colectiva son potencialmente inapreciables y penetran el globo.

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多樣化：在藝術方面的一項投資可能是一件有效的工具減少一個小心地被計畫的投資組合的風險暴露。這會是一個理想的措施雇用在一段市場反覆無常期間。必要條件在這裡，是最優質的藝術和對 10 年的長期的見解或更多。研究支持高級的藝術的能力倖存於經濟低迷時期，財產的價值決不變降至零，與很多其他的投資相比。藝術價格一直被顯示了更快速地恢復在撞擊之後比股權。
 
所以，藝術市價被顯示了超越了 S 和 P500 和在長期方面的更保守的投資（畫的 Mei/摩西的廣泛研究在50 年內賣拍賣與美國股市相比價格為註解資產類別不包括交易成本）。
經濟衰退：在這些時期的投資者期間開始轉向供替代的投資，例如藝術，公平和特性完全地好像時重視。

Exhibition Dates: August 3-November 10, 2008 Location: Special Exhibitions Gallery, third floor View the online exhibition Listen to the audio tour: Full Program (Flash 7 or higher plug-in required) Download audio clips View all related events
This exhibition brings together German Expressionist Ernst Ludwig Kirchner's renowned Street Scenes series, created between 1913 and 1915. Considered by many to be the highpoint of Kirchner's career as a whole, this series of seven paintings is showcased with sixty related prints and drawings. This series dates from Kirchner's Berlin period, when the effect of life in the metropolis brought about a dramatic change in his work. Known as the co-founder of the early Expressionist group Brücke, established in Dresden in 1905, Kirchner moved to Berlin in 1911. Here his sense of rebellion against the confining principles of academic painting and the stifling rules of bourgeois society took a new turn, as the charged atmosphere and energy of the city was felt in an expression of acute perspectives, jagged strokes, dense angular forms, and caustic color. The street life in Berlin, in particular the familiar presence of prostitutes, identified by their elaborate plumed hats, captured Kirchner's eye and inspired this spectacular series. Shown together for the first time in New York, these works exude the vitality, decadence, and underlying mood of imminent danger that characterized Berlin on the eve of World War I.	Purchase the exhibition catalogue

Organized by Deborah Wye, The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books, The Museum of Modern Art.

Description: With all the excitement surrounding today's digital manufacturing technologies, it is interesting to look at an earlier historical moment of workshop mass-production, as practiced by the great French architect and designer Jean Prouvé (1901-1984). Prouvé's collaborations within his Ateliers Jean Prouvé from idea to finished product are examined in this exhibition. Equipped with a skilled creative team and the most advanced manufacturing technologies available, the Ateliers were laboratories where ideas were continuously refined and adapted to produce furnishings and prefabricated buildings on an industrial scale. MoMA's installation focuses on the evolution of the "Standard" Chair and includes other examples of furniture and buildings that demonstrate Prouvé's approach to construction and his sensitive handling of materials--particularly his inventive applications of sheet metal.

Curated by Christian Larsen, Assistant Curator, Research and Collections, Department of Architecture and Design, The Museum of Modern Art; with Max Risselada, professor, Technical University Delft, the Netherlands. MoMA.org

Description: From 1962 to 1972, George Lois changed the face of magazine design with his ninety-two covers for Esquire magazine. Stripping the cover down to a graphically concise yet conceptually potent image that ventured beyond the mere illustration of a feature article, Lois exploited the communicative power of the mass-circulated front page to stimulate and provoke the public into debate. The artist encouraged Americans to confront controversial issues like racism, feminism, and the Vietnam War. Viewed as a collection, the covers serve as a visual timeline and a window onto the turbulent events of the 1960s. Initially received as jarring and prescient statements of their time, the covers have since become essential to the iconography of American culture.

Organized by Christian Larsen (Curatorial Assistant) - Research and Collections, Department of Architecture and Design. MoMA.org 

Plenty of room for images here, and in the extended 'read more' section...Space available per entry equivalent to 62,000 characters. Dates: December 21, 2007-October 27, 2008 Location: MoMA, New York: The Philip Johnson Architecture and Design Galleries, third floor. Description: This installation draws from acquisitions made over the past two years by the Department of Architecture and Design, many exhibited here for the first time. The selection represents the diversity found in contemporary design practice, with a focus on the latest innovations in architectural, industrial, and graphic design. Highlights from the exhibition include Mattias Bengtsson's Spun Chaise Lounge, woven from carbon fiber on a robotic arm developed by NASA; videos and drawings of Diller + Scofidio's ephemeral mist construction, the Blur Building; and a selection of designs from the graphic design firm 2x4. Curated by Paola Antonelli and Christian Larsen (Curatorial Assistant), Department of Architecture and Design MoMA.org

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