Masters of Today MOT Publishing

Masters of Today MOT Publishing The MOT Contemporary Artists Art Books Series features over 1200 contemporary artists profiles. Founder, Editor and Publisher Petru Russu (MFA)
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Petru Rusu, also known as Petru Russu, was born on January 27 in Reghin, Transylvania. He is a professional fine artist, art editor, and publisher with a degree from the prestigious University of Art and Design in Cluj-Napoca, Klausenburg, which he graduated from in 1979. Later, in 1986, Petru received an Italian Government Studentship, which allowed him to participate in world-class cultural even

ts with museums, galleries, and creative technology. This gave him the opportunity to meet influential curators, art critics, and art historians, such as Dan Haulica, Franco Maria Ricci, Achille Bonito Oliva, Enrico Crispolti, Carmine Benincasa, Giancarlo Politi, and Umberto Eco, a semiotician, essayist, philosopher, literary critic, and novelist. Throughout his career, Petru Rusu has edited and published more than 2500 contemporary artist profiles in over 50 museum-quality contemporary art books, including bibliophile limited-edition art books numbered and signed by the artists. As artist, Petru has also around 200 individual and international exhibitions. Petru's artworks are in museums, public, corporate, and private collections. Petru Rusu is known for his unconventional method of etching and art projects. One of his notable works is THE DECAMERON of Giovanni Boccaccio, which depicts the 100 erotic-to-tragic novels in 100 non-usual engravings. He has also created over 100 aqua-forte/aqua-tint, paintings, drawings, and objects representing Umberto Eco's novels, THE NAME OF THE ROSE and THE PENDULUM OF FOUCAULT. Petru's unique approach to art has gained him recognition in the art world, making him a celebrated artist, editor, and publisher.

Kindly search AMAZING ARTISTS – New Masterpieces that Define Creativity, museum quality offset printed book and digital ...
21/07/2026

Kindly search AMAZING ARTISTS – New Masterpieces that Define Creativity, museum quality offset printed book and digital format /eBook the 26 artists and the 500 works of art by opening the link https://www.mastersoftoday.com/eBooks/Amaizing-Artists/Amaizing-Artists.html
Founder, Editor & Publisher: Petru Russu |May 15, 2026 | ISBN 9789189685475

New Masterpieces that Define Creativity: An Art‑Historical Overview
The twenty‑six artists presented in AMAZING ARTISTS – New Masterpieces that Define Creativity form a transnational constellation that reflects the heterogeneity of contemporary artistic practice. Their works, spanning abstraction, figuration, conceptual inquiry, and material experimentation, demonstrate how global art today is shaped not by a single dominant movement but by a plurality of voices negotiating tradition, innovation, and cultural identity.

Beginning with Jehan Legac (Thailand), the volume introduces a visual language rooted in symbolic structure and rhythmic composition, echoing Southeast Asian spiritual aesthetics while engaging broader modernist concerns. This dialogue with structural clarity continues in the work of András Mengyán (Hungary), whose geometric investigations extend the Central European constructivist lineage into a contemporary conceptual framework.

A shift toward expressive chromaticism appears in Luigi Mapelli (MAPO, Italy), whose gestural intensity situates him within the broader European tradition of lyrical abstraction. Tamara Tarasiewicz (USA) complements this with psychologically charged compositions that weave memory and symbolism into layered pictorial spaces. In contrast, Mae Jeon (USA) introduces a restrained, contemplative aesthetic, where clarity of form and surface modulation evoke a minimalist sensibility.

Materiality becomes central in Josip Rubes (Croatia), whose tactile surfaces and organic rhythms recall postwar European engagements with landscape and texture. Ricardo Asensio (Italy) reasserts the enduring relevance of portraiture, infusing classical technique with contemporary psychological nuance. Ignacio Montano (USA) shifts the discourse toward perceptual abstraction, exploring chromatic tension and spatial ambiguity.

Light and atmosphere emerge as primary agents in Oto Rimele (Slovenia), whose luminous works resonate with the phenomenological concerns of the Light and Space movement. Andrea Amelung (Germany) and Maria Teresa Guala (Germany) contribute distinct variations on European abstraction, one emphasizing structural balance, the other emotional tonality, while Lidia‑Barbara Gordon (Germany) introduces a refined interplay of color and conceptual clarity.

A Nordic sensibility appears in Riitta Nelimarkka‑Seeck (Finland), whose lyrical line and chromatic play recall the Scandinavian modernist tradition. Erna Klaus (Germany) foregrounds material presence, while Gerald Hushlak (Canada) expands the volume into digital and hybrid practices, reflecting contemporary art’s increasing engagement with technological processes.

The works of Dossen Bjørnevik (Norway) and Carmen Wagner (Austria) explore atmospheric and formal purity, whereas Derwin Leiva (USA) brings narrative depth shaped by cultural memory. Howard Harris (USA) interrogates perception through layered imagery, aligning with contemporary discourses on visual instability. Josef Weidner (Germany) and Ramón Rivas (Spain) contribute structurally disciplined and expressively Mediterranean approaches, respectively.

The final group highlights cross‑cultural dialogues: Gro Folkan (Norway) with luminous natural atmospheres; Misa Aihara (Japan) with refined, culturally inflected minimalism; Kathleen B. Hernandez (Philippines) with vibrant, identity‑rooted expression; and Marta Dimitrescu (Sweden) with Nordic clarity and emotional restraint. The sequence concludes with Petru Russu (Sweden), whose dual role as artist and cultural mediator situates his practice within a broader discourse on artistic authorship and contemporary publishing.

Collectively, these artists articulate a global narrative in which creativity is defined not by stylistic uniformity but by the richness of individual vision. Their works affirm that contemporary art is a field of intersecting trajectories, historical, cultural, and personal, each contributing to the evolving fabric of twenty‑first‑century visual culture. (MOT)

Book specifications:
Print run 15000 copies. The Book is provided to over 120000 art resources, subscribers and collectors. The circulation is through eCommerce channels, press store and partners and top art museum art galleries worldwide.

Kindly order WOA &MOT art books at Amazon by opening the link http://www.amazon.com/-/e/B0039GVAVK
World of Art (WOA) Publishing | Masters of Today (MOT) 128 City Road London EC1V 2NX United Kingdom
Editor / Publisher: Petru Russu (MFA)

# The Artist’s Era: Decoding the New Paradigm of Contemporary Art Because the landscape we inhabit is changing, and wit...
15/01/2026

# The Artist’s Era:
Decoding the New Paradigm of Contemporary Art
Because the landscape we inhabit is changing, and with it, the responsibilities and possibilities of our shared work, I find myself, as I look toward 2026 and beyond, reflecting on the profound transformations reshaping the art world. These are changes many of us sensed intuitively long before they appeared in market analyses or institutional strategies. For decades, I have worked alongside artists who dared to think differently, who understood that creativity is not merely a practice but a form of resistance against stagnation, a refusal to accept inherited structures as the limits of what art can be.
Today, the art world is undergoing a structural reconfiguration rather than a temporary fluctuation. The familiar hierarchies, once so rigid, so territorial, are loosening. The market’s fragmentation, often described with anxiety, is in fact a sign of diversification, of multiple ecosystems emerging where once there was only a narrow corridor of visibility. This is not collapse; it is expansion. And expansion always demands new forms of intelligence.
I have long believed that the future of art belongs to those who can think collectively without surrendering individuality. Now, even the highest echelons of the market are discovering what many independent artists have known for years: collaboration is not a concession but a strategy. When seasoned power brokers consolidate their expertise under shared advisory structures, when auction houses align with independent fairs, when galleries experiment with flexible, project based relationships, they are acknowledging a truth that has guided my work since the founding of World of Art (WOA) Publishing (1999) and Masters of Today (MOT) Publishing (2006): that the most vital cultural production emerges from networks, not fortresses.
To the artists I collaborate with now, you are already part of this shift. You understand that visibility is no longer granted from above but built through community, discourse, and the courage to define your own context. You know that the future is not waiting for you; it is being shaped by your decisions, your risks, your insistence on authenticity.
And to the artists I will collaborate with in the years ahead, I offer this invitation: bring me the work that refuses to conform. Bring me the questions that unsettle you. Bring me the visions that demand a new language. The two contemporary art publishing platforms I have founded and built were never intended to mirror the art world’s existing structures; they were created to challenge them, to expand them, to give space to those who do not wait for permission.
The market’s renewed interest in emerging voices, despite economic uncertainty, confirms what I have always known: that collectors are drawn to sincerity, depth, and intellectual rigor. The speculative frenzy around the ultra contemporary may have cooled, but the appetite for discovery has not diminished. It has simply matured. This is the environment in which WOA and MOT have always thrived: one that values discernment over hype, substance over spectacle.
We are also witnessing long overdue corrections in art history. The rise of the women Surrealists, whose market presence has expanded dramatically in recent years, is not a trend but a reclamation. Their recognition affirms the necessity of publishing models that do not wait for institutional approval to validate artistic significance. This has always been the ethos of my work: to publish not what is already canonized, but what deserves to be.
The geography of the art world is shifting as well. New cultural centers are emerging in the Middle East, Milan is experiencing a renaissance, and Paris is reclaiming its historical momentum. These shifts reinforce the importance of a publishing model that is not tied to a single city or institution. WOA and MOT were built to move with the world, not behind it.
Museums, too, are expanding their horizons, embracing digital art, AI driven experiences, and new forms of cultural storytelling. These developments do not surprise me. They reflect the same impulse that has guided my editorial work: the belief that art must evolve with the technologies and sensibilities of its time, not in opposition to them.
The art world is changing, but change has always been the condition of art itself. What matters is how we respond: with clarity, with courage, and with a commitment to shaping the future rather than merely observing it. WOA and MOT were founded on this conviction. Today, as the world finally begins to embrace the collaborative, decentralized, globally connected model we pioneered, I feel more certain than ever that our work is not only relevant, it is essential.
Together, we will continue to decode the contemporary, not by following the art world’s evolution, but by leading it.
(Essay and work by Petru Russu | Pilgrimage, 1993 Pen Drawing on Fabriano Paper 11.7 x16.5 in. | 29.7x42 cm.)

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