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"WITHOUT ART WE ARE BUT MONKEYS WITH CAR KEYS"tm

TERY FUGATE-WILCOX

COPYRIGHTV1982


​ The Actual Art Foundation was founded in 1982, by Valerie Monroe Shakespeare and a consortium of patrons dedicated to art and the ideals of working with nature, instead of fighting it. The Foundation was formed to promote and encourage the support and development of Actual Art and to educate, assist and instruct the public toward awareness of this important genre of art which is related to environmental issues by the unique way the art works with nature in a positive mind set. To this end, the Actual Art Foundation has curated and sponsored art exhibitions in Princeton, New Jersey, Hartford, Connecticut; Regensburg, Germany; and the City Gallery, New York City. The Foundation is currently organizing shows world wide and had several group shows scheduled at the Fvlcrvm Gallery SoHo.   The Actual Art Foundation has worked with other not-for-profit organizations such as The Public Art Fund, Lower Manhattan Cultural Council and City Walls to assist artists in realizing major works of art throughout the City, both temporary installations as well as permanently installed site-specific works. The Foundation also works with many major international corporations towards the completion and promotion of temporary art exhibitions as well as permanent installations of art, and to assist in the education of the public, especially school children, about art in general and environmentally conscious art in particular.             The Actual Art Foundation is dedicated to raising funds for the San Andreas Fault Sculpture Project by artist Tery Fugate-Wilcox, This multi-million dollar project will be constructed over the San Andreas Fault in Palm Springs, California.

Actual Art Foundation is a 501C-3 charitable/educational organization and all donations to it are tax deductible to the full extent allowed by law.  




















​​Nascent Art an Exhibition
​ This work by artist William Anastasi, begins as a square of steel. It is only when water added to the piece, makes patterns of rust on the surface, does the work become a work of art. Water literally creates
the art. Another example of Nascent Art was submitted by
​Alexia Nikov, of Kiev in the Ukraine. Her work consisted of a blank
​canvas, onto the back of which, a body, covered in oil was pressed. The work became art when the oil migrated through to become visible
on the front of the canvas, in the form of a nude figure.
Tery Fugate-Wilcox attaches a series of paint brushes, caked with
water-soluble paint, (like children's finger paints) across the top
of a blank canvas. When the piece is put out in the rain, the artwork,
titled "Painting Brushes" is created by the wind; the rain.
Similarly, Fugate-Wilcox attaches one canvas, painted with the same water-soluble paint, directly above an identical blnak canves.
In the rain, the "Painting Painting" creates a new work of art below,
on the blank canvas.  IT IS NOT ART………..yet The Actual Art Foundation is the first in history to show artists’ creations that are NOT ART…YET. The exhibition titled “Nascent Art” is a evolving project. The show will travel, continuing its evolution. Actual Art has always been the focus of the foundation, whose artists create natural art incorporating the effects of time. That is, they use materials in their natural state, allowing the works to be influenced, if not actually formed by the effects of the forces of nature on the materials of the art at some time in the future. Nascent Art examines the point at which an object becomes a work of art. Actualist Artists do not finish works of art; they only start them. Then the works leave the artists’ hands and go out into the world to be “finished” by weather,  dust, oxidation, temperature, humidity, human and/or animal interaction or simply time, as the inner structure of the materials change or interact with each other. At some point, during that evolution, materials become art…on their own…without the artist’s intervention. The exhibition will include outdoor works, affected by the weather, works exhibited in a glassed conservatory, affected by direct sunlight and living art, as well as indoor art that evolves by other means. Nascent Art concentrates on that period before an object becomes art, and focuses on the precise moment when the object is art. Who decides if and when it is art? What does the collector purchase if he buys before the object is deemed art and what does she do if the artist decides it is not art, (ever)? Who but the artist can say? What is the role of the critic in assessing Nascent Art? How can one determine its potential? ALL WORKS ACCEPTED FOR THIS SHOW WILL BE PURCHASED BY THE FOUNDATION