Kehinde Wiley on TODAY 04/22/2010
Kehinde Wiley on TODAY, he’s a great artist and I gave a tour of his work one time as well as a few other contemporary art pieces, and it’s completely true that people look at his work and think ‘WOW’ and they connect to it.
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ART ART ART ART 03/11/2010
On the brighter note, I added more artwork to this site and my flickr & I've been working my butt off for an art show that will take place in April at my school & I will update soon about that!
H U M A N
the contents of our hearts and minds and thoughts Materials: clay, glaze, polyurethane, fabric, string
the contents of our hearts and minds and thoughts Materials: clay, glaze, polyurethane, fabric, string
Lorraine O'Grady 03/04/2010
Miscegenated Family Album by Lorraine O’Grady.
O’Grady’s sister past away at 37 years old. Afterwards, on a trip to Egypt, O’Grady noticed a similarity between Egyptian faces and her sister’s. Particularly when she visited art museums, Nefertiti’s face resembled her sisters very much. O’Grady puts together images of Nefertiti with her sisters and creates a personal and historical piece of work, which touches on racism and imperfection in families, which was just as true hundreds and thousands of years ago, as it is today.
(looking over some artwork to give a tour on at tomorrow's teen night event at the brooklyn museum! & I love this piece)
O’Grady’s sister past away at 37 years old. Afterwards, on a trip to Egypt, O’Grady noticed a similarity between Egyptian faces and her sister’s. Particularly when she visited art museums, Nefertiti’s face resembled her sisters very much. O’Grady puts together images of Nefertiti with her sisters and creates a personal and historical piece of work, which touches on racism and imperfection in families, which was just as true hundreds and thousands of years ago, as it is today.
(looking over some artwork to give a tour on at tomorrow's teen night event at the brooklyn museum! & I love this piece)
Go see it! You won't regret it. Smith was inspired by a needlework piece by Prudence Punderson and created an exhibition dealing with the space women found/find to create art and express themselves throughout the span of their lives.
Mona Hatoum 02/23/2010
Mona Hatoum (Beirut, Lebanon, 1952), Roadworks (performance still), 1985-1995
according to the artist herself, the oppressive atmosphere at the slade school of art may have contributed to that fact that she abandoned the sheltering institutions and began to explore the possibilities of performances. from the outset, the body has always been a central element in hatoum’s work, whereby she rejects the separation of mind and body she observes in the western world. for the first time, at slade, she came into contact with stances such as feminism, which she eventually abandoned as she did not consider it to represent her particularity as a palestinian woman, but that would lead her to a broader analysis of the relations between different power structures. at the time, performance became the most groundbreaking instrument suited to the urgency of her needs. therefore, throughout the first half of the decade of the eighties, hatoum carried out a series of controversial performances brimming with political content.
this piece was produced within this framework, in 1985, on the streets of brixton, a predominantly black working class neighbourhood, located in the outskirts of london. hatoum carried out two performances pertaining to an action organised by another artist stefan szczelkun entitled road works, in which the intention was to create a relationship between a specific group of artists intervening in an impoverished community. in this way, these artists would produce their work in an environment and for an audience very different than that customarily visiting museums and galleries.
hatoum is portrayed in the photograph barefoot and strolling along the neighbourhood streets with a pair of heavy doc marten’s boots tied to her ankles. her feet appear naked and vulnerable compared to the sturdy boots traditionally worn by the police or by skinheads. the artist presents herself as an impoverished person who questions the system, trying to make manifest its structural mechanism through an action in which even the basic act of walking becomes difficult.
according to the artist herself, the oppressive atmosphere at the slade school of art may have contributed to that fact that she abandoned the sheltering institutions and began to explore the possibilities of performances. from the outset, the body has always been a central element in hatoum’s work, whereby she rejects the separation of mind and body she observes in the western world. for the first time, at slade, she came into contact with stances such as feminism, which she eventually abandoned as she did not consider it to represent her particularity as a palestinian woman, but that would lead her to a broader analysis of the relations between different power structures. at the time, performance became the most groundbreaking instrument suited to the urgency of her needs. therefore, throughout the first half of the decade of the eighties, hatoum carried out a series of controversial performances brimming with political content.
this piece was produced within this framework, in 1985, on the streets of brixton, a predominantly black working class neighbourhood, located in the outskirts of london. hatoum carried out two performances pertaining to an action organised by another artist stefan szczelkun entitled road works, in which the intention was to create a relationship between a specific group of artists intervening in an impoverished community. in this way, these artists would produce their work in an environment and for an audience very different than that customarily visiting museums and galleries.
hatoum is portrayed in the photograph barefoot and strolling along the neighbourhood streets with a pair of heavy doc marten’s boots tied to her ankles. her feet appear naked and vulnerable compared to the sturdy boots traditionally worn by the police or by skinheads. the artist presents herself as an impoverished person who questions the system, trying to make manifest its structural mechanism through an action in which even the basic act of walking becomes difficult.
"The Virgin" by Gustav Klimt 12/30/2009
"The Virgin" by Gustav Klimt 11/30/2009
I can never get tired of Gustav Klimt. It's so amazing that a man made these paintings. Obviously, lots of men painted women, but the way he did it, is different.
Eddie Lee Kendrick 11/24/2009
By Eddie Lee Kendrick.
In 1977, Kaplan, an administrator at an elementary school in Little Rock, Arkansas, walked into the school janitor's supply closet and found its walls hung with bright, lively paintings and drawings of Jesus, of angels, and of people in prayer and ecstasy, all created on corrugated cardboard - and that is how Eddie Lee Kendrick was discovered!
In 1977, Kaplan, an administrator at an elementary school in Little Rock, Arkansas, walked into the school janitor's supply closet and found its walls hung with bright, lively paintings and drawings of Jesus, of angels, and of people in prayer and ecstasy, all created on corrugated cardboard - and that is how Eddie Lee Kendrick was discovered!
Jacek Yerka, "Dinosaur Isle" 11/14/2009
Woah - this is pretty cool!
Such beautiful photos, yet they are not real. Alison Jackson plays with what people believe or what may easily deceive us. Here's is the artists explanation:
"Her photos demonstrate that while seeing is believing, the truth is another story entirely. In her work, Jackson says, 'Likeness becomes real and fantasy touches on the believable. The viewer is suspended in disbelief. I try to highlight the psychological relationship between what we see and what we imagine. This is bound up in our need to look—our voyeurism—and our need to believe.'"
Go to Alison Jackson's website here.
"Her photos demonstrate that while seeing is believing, the truth is another story entirely. In her work, Jackson says, 'Likeness becomes real and fantasy touches on the believable. The viewer is suspended in disbelief. I try to highlight the psychological relationship between what we see and what we imagine. This is bound up in our need to look—our voyeurism—and our need to believe.'"
Go to Alison Jackson's website here.
